The Magic of Cinemagraphs

Lesson 3/3 - Processing and Exporting Cinemagraphs


The Magic of Cinemagraphs


Lesson Info

Processing and Exporting Cinemagraphs

We're going to open our next image so let's it commando open here we go this is our very last that's it open here it's hard yes, very, very typical so I'm going to basically scrub there we go right until the point in which your eyes close like right before the movement happens and I could make that long last is long is we'd like if I'd like to duplicate this layer and have this continue going I think I think we're do it one more time before the end. All right, so basically I want to isolate the moving from right before two right after and if this is too long not a problem at all weaken we have another file a swell so if this were a photo shoot that was not live instruction I probably do like ten or fifteen mohr of these just make sure that I had a little bit more footage all right, so we're going to do the same thing we did earlier. I'm gonna go back to the very beginning we're going to create a new layer above our video layer and I'm gonna hit shift option command e which is our stamp...

invisible layer ok, now I don't want anything to move except for her eye in this image, so we're going to click on her later mask and I'm gonna paint black on my leather mask right over top of our subjects I all right, we can see it's moving a little bit which looks incredibly weird. All right, so what we're going to do to keep from moving we're going to try the suggestion we had earlier with kind of like book any it so what we're going to do is I'm going to go to the area to right before it moves there we go, we're going to just try this and I'm going to go ahead and clip our footage right to that point. All right? So if we just loop this play back now we've got a wave got blinking everyone we've achieved blinking all right, let's, go ahead and loop this now. Well, that's pretty freaky on its own uh that's pretty cool. All right, so what we're gonna do is I'm actually going to duplicate this layer again, so we're going to duplicate our layer to copy and this is going to be just the regular layer itself. This is gonna be the eye that's closed. Okay, so we can choose the eyes going to be closed for let's say this long. Okay, then we can bring our video and this other layer past there, so if I hit play now, okay it's going toe basically load right up into here we go it's gonna load right up to that point so from here to here it's just a still image there is no video playing it all and then we've got video and then it's going to pop back into a still all right looking good now what I want to try to do is duplicate our video group so we're going to duplicate that video group there we go and I want to say about it if I can reverse these frames all right, speed all right, here we go replace footage I believe I can go right here and go down too reverse frames show under video all right, if anyone knows the answer to this I am all ears all right, there we have a question if u s o when she opens her eye if you created another stand visible layer and then held the eye open for a while would like a still image and then went back to the video closing it yeah, we had a lengthen the time of that. Yeah, we won't get the animation of her closing her eyes though, which is, you know, which is the reverse but we can do let's you know what we do have this layer to copy if I can find footage of her just closing the her eye so erin there's suggestion and I don't know if this is hell or not spencer payne says set speed to negative one hundred I will definitely try that. That sounds great. All right speed to negative one hundred uh spencer was a really build a sensor all right, so it looks like reversing friends is going to be is going to be relatively tough here. Um we do we do have the option if it's a key frame animation which I thought we'd be able to pull up here but let's try the option of just keeping her eye open for a little bit. All right, so what what we're gonna do is basically that's just soon this in here a little bit we're going to make a copy of her eye as it's open so we can keep it open a little bit longer. All right, so we've got the eye open here now we're going to make a stamp visible layer above everything else and then basically as long as this stamp visible layers open her eyes going to be open so we can choose the duration of that as well. All right, aereo so let's, bring that down right there let's go play from the beginning now. All right, that looks pretty good. I wanted to be a little bit more dramatic and I want her eye to stay open for a longer period of time in the beginning and that's going to help it kind of sell the effect a little bit better, all right there we go what do you guys think is it closed long enough in the beginning? Yeah all right, so let's bring the same settings in that we brought from our other image we're just basically and has used the exact same levels curves and another kurds layer to color our image so basically from this layer from this image I just click and drive from one image to another one and now we're coloring this image as well all right, so let's full screen that and we'll play it right from the beginning all right? And with this you just want to make sure that all of these adjustment layers and at the exact same place that your trailers layers and or you're gonna have a little bit of a blank space at the end all right, I think that looks awesome. You guys think it's pretty good that's pretty good we didn't figure out the reverse frames which, um a little bit sad about because I definitely reversed friends and photo shop before usually when you do a key frame animation but it converted if you did find that you're you know here in a video editing program or something like that other programs besides photoshopped going to be a little bit better for reversing frames yeah, I was a little bummed we couldn't we couldn't do that, but I think the eye closing suddenly it totally works it totally works all right? So let's go ahead and export this out and we can view it on the web a swell so we're gonna go to file we're going to go to save for webb, all right? And here we want to use our same option so we're with you know what nineteen twenty by ten eighty looks pretty good let's go ahead and change a resume level down two fifty percent so aiken you know what? Let's go a little bit lower so I can see what we're doing here now this is one thing if you didn't want to do any like type of retouching and things like that you could do on you could do re touching as well because this is basically a still photo with just one part of the photo moving so anything you'd normally be doing in photoshopped true treated like a normal photo with just one area moving so this is great we're under one megabyte nine hundred ninety nine k which looks good we're gonna hit save and we're gonna go ahead and say this as cinema graph too that she I have all right and now what I want to do is basically look at my image we're going to right click here and I'm going to say open with google chrome so we want to make sure that our image is actually opening there we go the reason it's a big open is we didn't choose our looping options, so make sure to make sure to choose your looping options here we had our looping options that toe once I'm going to change this to forever and then it's going to keep going and going and going. All right, so we'll say this is sitting, we're off to a that's. Why it's a really good idea to just just go ahead and check to make sure that your cinema graph is actually working. We'll go back to our finder, right? Click here and go to open with google chrome and this is a great way to just get a preview. I don't have to upload it to anything it's just going to display on google chrome. There we go, and as long as this is opening this, she will open and close for all time leading this up. Do we give it up for mackenzie? She did a great job tonight question here, go ahead. I'm wondering how you combat the two hundred fifty six color issue with exporting a jiff if isn't there? Yeah, yeah, let's, go right back into photo shop definitely right about that, so when we're saving here your colors, you are going to be set to two hundred fifty six like that's that's, one of the restrictions of using the gift if we can see you can go lower, which is most of the time going toe look aa lot worse so that's one thing it does fall short of you know it does fall short of video there where you really don't have a ton of color options I find here in this menu you can actually choose what you know changing between perceptual selective, adaptive and restrictive will change the actual colors used you can see that there was a color changed right here and restrictive is going to be obviously a lot less color as well, so you can you can change the amount of colors that air here, but you are going to max out at two fifty six, so in this case, what we chose to do is keep our color palette pretty simple the background is just a few colors and our subject is just a few colors as well, so it it doesn't really stand out if we go back into google chrome. For the most part, it looks like we have enough colors for what we need where, you know, it doesn't really look as though it's locking so that's going to be part of your actual photo shoot to choose, you know something that's a little bit more simple that really will just display, you know, two hundred fifty six dollars that's a good question maybe one or two more before we end here. Julius alito and two other people want to know if there's a recommended max size file size for gifts going on the web. That's a really good question. You generally want these as low file size as possible with the regular j peg, you're probably going to be able to get that down to, you know, maybe fifty to one hundred kilobytes. That's going to be really hard with one of these. I've had clients ask for cinema graphs, and, you know, they wanted to put them on web banners and things like that, and they wanted a thirty seconds animation. And you know that it's like, ok, they want a thirty second animation, but they don't want to file size large, larger than, like forty k, and I just had to tell him no, it's, you know, this is basically your file size increases because we have frames right down here we have in this case, we only have twelve friends here. You can see one of twelve or earlier. Animation had a lot more frames because it was it was longer. So generally what this is actually doing is it's basically saving out twelve different images and then combining them back together and looping them together, so chips, sir, they're always going to be larger than regular thin regular files. If you can keep it lower than one megabyte, you should be good to go. If they're going to be just on mobile or something like that. You want to you want to go a little bit lower if you can, the answer is as low as you possibly can. Lower these settings in each of these is going to cause let's. Say, if we go down to adaptive, you can see that jumped up a little bit. So each of these settings is going to change how much your actual files going to wind up taking out. So you're not going to be able to get this, you know, down to ten kilobytes is just not gonna happen. So go as low as you possibly can. Um, another air you khun kind of change is your within your height. If I bring this down to eight hundred pixels wide there we go toe. We've got two hundred fifty eight case, so that really reduced the file size but it's also reducing the actual size of the image. Good question. Quick question from joe cassie s when making a cinema graph, which is the color profile need to be a star to be pro photo, what do you use? Yeah it's rgb for sure on dh you can see right here in safer web we have an option for convert to srg b and I do recommend keeping that check because the web is going to read yes rgb color profile and this is going to make sure they display the best on the web great. Um uh the better question is simple thing is it can you make the mask move in time? Uh like through the video can you change where the mask is as the video progresses you can in after effects after effects we'll definitely do cinema graphs as well. This is photoshopped week I wanted to show you can do it in photo shop after effects is probably even better to use for creating a cinema graph in photo shop yes in after facts you're able to key frame and move your maths and you can reverse frames and you can do you can do quite a bit in after effects you could have lens flares and uh you know, aliens coming on the other space and zap arrival of hoping and clothes if you want to do that, all that and after effects will last for aftereffects week about that way okay one one when you created the adjustment layer is there a way to just have that for some of it it's kind of along the same lines that last question or does it create an adjustment for the entire video. Good question. So with photo shop, you can definitely change let's say we wanted our our levels adjustment here, that's going to be our color at the very top. If I want to change where this actually goes in my time line, so I can, I can shorten the sound, so my levels will be visible here, and then they become invisible. So if I hit play here, you'll see the levels will go and closes well, so if I wanted to to just have it visible while she opened her eye, I could do that as well. Let's, let's, try pulling that down. There we go, so she's going to open her eye and the color of the backgrounds going to change it, that's, pretty freaky, so you can definitely change where those invisible. Yeah, thank you.

Class Description

Cinemagraphs bridge the gap between still photos and video. Learn how you can add subtle movement to your photos in The Magic of Cinemagraphs with Aaron Nace.

Aaron will teach you how to combine images together to create beautiful moving photographs. You’ll learn tips and tricks for shooting a cinemagraph, common animation techniques, and how to mask layers to isolate movement to one part of an image. You’ll also learn how to export and upload your cinemagraphs online.

Software Used: Adobe Photoshop CC 2014.2.2


Bob Bradley

This is a very interesting and fun class. The only change I would recommend is that the class examples be provided for download so that the student can try to duplicate what they saw in class.