How to Make “Cinemagraphs” in Photoshop

Hey guys, what’s up?

Since I’ve published my last post I’ve been receiving a lot of questions about how to make cinemagraphs using  Photoshop. So I thought it was a good idea to answer to (almost) all of them by making a specific tutorial for it :).

I’ve used Photoshop CS4 in this tutorial, with a video given by the visitor Sheslla, who pulled my ears a lot so I would help her with cinemagraphs :P. Thanks, Sheslla! And congratulations for such a beautiful video which can be seen here:

Click on the images in case you want to enlarge them.

1 – Importing the video to Photoshop.

Go to the menu File > Import > Video Frames to Layers.

Select the desired video file. A window will show up, in which you may define a range of frames from the video which will be imported as layers into the program. Set up the video “piece” you want, then check the option Make Frame Animation and confirm it.

If the Animation is not visible, then go the Window menu and check Animation. In that panel, layers are seen as frames. The number below them is the duration (in seconds) of each frame in the animation.

2. Aligning frames.

The challenges encountered during the creation of a cinemagraph depend on what you want to do, and the available material you have for it. In our case, one of the problems found was the camera movements during the video recording.

A solution to that is in Edit > Auto-Align Layers. A new window will be opened, with the command options. In our case we just need to Reposition the layers so they’re aligned, and them confirm the operation.

Depending on the dimensions and amount of layers, it may take a long time till the end of the alignment. Go drink a cup of coffee :P.

After that procedure, it will very likely be necessary to cut some borders from the image area. It can be done with the Crop (C) tool. Simply select the area you wish to keep and then press Enter.

Press the play button on the Animation panel to check if there are no frames with “empty” areas left. In case there are, use the Crop tool again.

4. Keeping some areas of the animation “static”.

And now the most interesting part! And the simplier :P…

Select the layer which contains the areas you wish to become “static’. Duplicate the layer and put it above all others. Then select the Eraser tool and choose a Brush with extremely soft edges.

Now erase from the duplicated layer the area you wish to “move” during the animation.

Ta-dah! If you have erased everything ok, when you play the animation you’ll see the non-erased areas will look “static” as desired.

5. Final adjustments.

Here we use some other tricks, like removing frames too much similar to the first/last ones and increasing the duration of these (just click twice over the frame and the options will show up).

6. Saving the GIF animation.

Now you just need to go to File> Save for Web and Devices, select the GIF format, and play around with other settings in case you want to change the quality/size of the end file. When finished, click on Save and select the destination folder.

There it is, the magic is done, a cinemagraph :D! Look at the final result:

If you have any questions or suggestions, shoot out, I’m here for that :D!

Best regards!

How To Make “Cinemagraphs”

A lot of blogs have been talking lately about the amazing Jamie Beck’s animated photographs, which she started to post on her tumblr page.

There’s nothing new in animated .gif images, not even the ones using this concept of “static areas + moving areas”. The big deal about Beck’s work is using the concept artistically, and not humouristically as it’s usual.

Example of GIF that already used the idea
Example of GIF that already used the idea

But that ended up growing the interest of other artists, specially photography lovers, like my friend Fabiana, on the subject of how to do those animated photographs, that are being called, by Jamie, cinemagraphs.

First of all, a program that works with animated .gif images is needed. There is a lot of them, like Photoshop, Fireworks and even some free ones. And almost every image editing program nowadays supports editing images in that format. All you have to do is search for “how to make animated gif” together with your program’s name, and there will likely be a lot of tutorials showing up.

This tutorial is going to be very generic on that aspect, not specializing in any specific program, it can even be applied in contexts other than an animated GIF image…

1. Obtaining the images that will be used: For the “artistic” use of the concept, subject of this post, record the scene from which you wish to make the GIF keeping the camera and other elements of the scene you wish in the most still position you can.

2. Transforming the video in animated gif: There are several ways of doing this. There are programs and websites that do that automatically and for free, like GIFSoup, but not always with the desired quality. One of the ideal ways for high resolution GIFs like Jamie Beck’s is explained on this link, using Photoshop.

3. Getting the animation to repeat “smoothly”: This part can be more or less complicated depending on the situation. The main tips are:

– Compare the first frame (a frame is every image that composes an animation and shows up for a determined amount of time) with the last one, and delete this one if it’s not similar enough to the first one. Repeat the procedure until you find a frame similar enough.

– If the above hint didn’t solve the problem, a trick that may work in some occasions is to make the “reverse” animation right after the regular animation. That is, start copying frames prior to the last one and add them to the end of the animation, till you get to the first one, creating a “back and forth” feeling that sometimes can’t even be noticed and makes the transition between repetitions completely seamless.

– If the transition between one repetition and another still isn’t seamless enough, try to reduce the duration time of the last frames, so the transition will be faster.

– If nothing works, it might be necessary to really edit the images of some frames the most different ways, from the easiest to the hardest…

4. Keeping specific areas of the animation “still”: Pick a frame that contains the still parts the way you want, copy its image and erase on it the areas that will move. Make this image repeat for all the other frames, overlapped to their original images. That will “cover” with a static image all that you do not want to move. The way of getting this done may differ depending on the software used.

Save the animated .gif according to the instructions for your program, and voilá, you’ve made a cinemagraph =D.

If someone has any doubts about the creation and edition of animated .gifs on a specific program, just ask on the comments and I’ll try my best to help =).

Term “ambigram” added to english dictionaries!

Hey, guys, what’s up =D? I’ve got very interesting news for ambigram appreciators who pass by around here. In March 24 of 2011 (last thursday), the term ambigram has begun to effectively be officialized on the english language, by being included in the Oxford’s English Dictionary. The complete list of new words can be seen here (there’s even OMG and LOL on the abbreviations list, very cool =) ). No, it’s not an April’s Fool joke, and there’s no reason it should be one =P.

The news started to spread in March 28, in on the Ambigram Magazine website, simply the most important one about those fascinating “magic words”. Several of the new words were already in use for a long time, the “ambigram” itself already existed since the 80’s, coined by Douglas Hofstadter.

The officialization of the word ambigram on the english language is very gratifying for all “ambigramists” (that one will take even longer to be accepted =P) on the world. We’re no longer doing some very crazy stuff with words that nobody can understand what it is, we’re making ambigrams, and if someone doesn’t know what it is, look for it on the dictionary =D.

Manipulatrice

Manipulatrice - colored pencil on paper
Manipulatrice - colored pencil on paper

Artwork made as requested from a friend, who had in mind “Catherine de’ Medici doing something violent”. Because I’m not a fan of gratuitous violence, I tried to find a good context. After some research, I decided to do something related to St. Bartholomew’s Day Massacre, and it ended up being more specifically about king Charles IX, 22 at the time, not actually having powers, because who really ruled was his mother, Catherine de’ Medici, which was certainly decisive to the episode’s bloody outcome.

Artist of the Week #4: Jen Stark

Fred Einaudi, Peter Callesen, Hans Rudolf Giger… I couldn’t help but notice artists brought up to this section so far have a couple of things in common. First, one way or another they can be called surrealists. And second, they’re men.

As an aspiring artist myself, when noticing a pattern I tend to want to break it, it’s not going to be different with this one. Today I’ll talk about the young american artist Jen Stark.

Jen Stark cutting paper
Jen Stark cutting paper

Jen was born 1983, in Miami, Florida, and studied at the Maryland Institute College of Art (MICA). Her works are all of abstract nature, and range from drawings and animations to paper scuplture, being these last ones the main cause of her success, because they’re simply astonishing.

Burst - hand-cut paper
Burst - hand-cut paper

Subjects as the infinity, the impossible and the perfection permeate her works, through the use of shapes and colors that seem to have a life of their own, often resembling elements of nature.

Cosmological Constant - hand-cut paper
Cosmological Constant - hand-cut paper
High On Constellation - felt-tip pen on paper
High On Constellation - felt-tip pen on paper

Still about elements of nature, it is possible to sense an interesting combination of spontaneity and complexity, which possibly reflects the artist’s personality, but it’s truly a quality present in all natural phenomena.

Sunken Sediment - hand-cut paper
Sunken Sediment - hand-cut paper

Stark’s work is a reminder that contemporary art and pursue of beauty walk alongside indeed, and much more often than it seems. But that is subject for another post…

For more information about this beautiful and talented artist, check her official website.

Cold Coffee

Happiness I take it as a boiling coffee
In small sips, not to burn the tongue
But, at that rate, the coffe gets cold
Before it’s enjoyed

And lo, mine have cooled

But I have no time for depression
I can’t find a place in my schedule
For a suicide

And at this lunch break I find myself wondering
If maybe I should have taken it all at once
While it was still hot
Even if I burned my tongue, my throat
Even if I burned my teeth
At least I would have felt something
And not this emptiness

But now it’s too late
But it’s never too late

There’s always a microwave

There’s always the goddamned hope
That vulture

I stuck a note on the fridge:
“I’ll be happy tomorrow”
The day before the day before yesterday

Cyberpunk

I’ve been chewing up this idea for some time…

Cyberpunk - mixed media/installation
Cyberpunk - mixed media/installation

So much time I ended up thinking about too much stuff for a single work. This Cyberpunk is just the first one of a series whose name I still haven’t chosen, but which I already know will have at least 3 more works (Steampunk, Ecopunk and Nerdpunk), which are the ones I’ve sketched already. Each one of them mixes materials, techniques and concepts in the most strange, and, I hope, interesting ways. In such a way I think this is the most regular and tasteless work of the series…

Cyberpunk - detail
Cyberpunk - detail

This work uses pieces of the most different electronics, leather from an old wallet, plastic, calculator and watch batteries… Not to mention the cardboard engines with pens and other objects as axis, responsible for the possibility of the observer to rotate the punk’s “mohawk” using the “knob” at the lower part

Cardboard engines behind the Cyberpunk
Cardboard engines behind the Cyberpunk

This is actually a very interesting aspect of the work, that makes it be more than a mixture of painting, collage and sculpture, as the Rabbit, but also something of an installation, with all the accommodation to places inconveniences expected – more specifically, its necessary to make some holes on the wall to put the engines’ axis and accommodate the work in exhibitions.

The truth is that system still isn’t 100% functional. The engines were poorly designed (I underestimated their complexity =P), and they get locked very often, and when they work, they don’t do it at the speed I wanted, that’s why I didn’t make a video showing how it works or something. Fortunately I now know how to fix it all up, but, as there is no need of hurry, I’ll wait for an exhibition opportunity to be near before I make the proper adjustments.

About the meanings and motivations behind the series, I think it’s best if I talk about it when the works are all ready =).

P.S.: If I’m to continue making works like this, I’ll have to buy a better camera… Because my “flat” works, like drawings and paintings, I can scan them with the resolution I want, but these tridimensional ones make me depend on the camera’s quality, which is presently very low =P…

Climate Crisis

I’m snowing
Nothing close to the rain I’ve rained before
With the thunders I’ve thundered
There’s only cold, silence
And mist
Hiding everything around me
Because I don’t want to see
But I don’t want to forget

That love is a disease
And I am healed
That love is a lie
And I am lying

Interlude

I was ran over by a lot of exams and works right after my trip… And when I finally got time to write about it, I was writing too much… and I still haven’t finished it… The thing is I’ve got other stuff to show here, more interesting and fast to publish stuff, so be warned that, although the next posts have nothing to do with what I’ve “promissed” in my last one, my evil plans of writing giantic posts about art are not forsaken.

Blog de Victor Maristane