Ooh, I love this question.
So first up:
You will want a fairly large trampoline in an open space, and you will want it positioned in a place where you can (more or less) shoot against the sky. Unless you want your neighbours’ houses or trees as the background, an open sky is the best because you can fake supreme heights by just removing the few little distractions that squeak in and photoshopping in some clouds or some land below or something.
You will absolutely need a photographer. I don’t think tripods really matter because you’re going to be moving around so much that the freedom of movement is much better for the photographer if they can move swiftly, too.
You want to pick a day that has nice lighting. Overcast is great because you don’t end up with harsh shadows on your face and whatnot, but it can also make pictures a little grey. No problem, you have post-production to fix that. Also pick a day where you’re not going to sweat your ass off; we did our first trampoline shoot in 40ºC weather, and afterwards, I could practically wring the sweat from my skirt where the belt had pressed it against my skin. (Beautiful mental image, I know. I’m just trying to spare you the Gross.)
Any heeled or unsafe shoes for trampolines are a no-no. Jumping around in my sock-boots with thin, flat soles for Supergirl is great, but I’d never jump in heels, both to protect my own ankles and protect the trampoline. Likewise with heavy boots. You don’t want to injure yourself or damage your trampoline (or your friend’s trampoline, or whoever’s) just for cosplay pictures. Is your footwear crucial? Wear coloured socks or make alternate shoes that are “lightweight/flat” editions of your regular shoes. You don’t need heels for height when you’re being flung through the air!
The biggest trick to actually doing these photoshoots is controlling where the cape goes. If you just bounce around and let it go wherever it pleases, you are going to end up with it going over your head, wrapping around your body, getting caught between your legs, etc. You need a cape that is long enough for you to hold onto the edges. Ideally, you are going to hold onto it to guide it as you go up, and let go juuust when you start descent. This way you aren’t holding your cape, but you have it spread out beautifully and your hands are wide and “joyous”.
Stop periodically to review the pictures with your photographer. Figure out what is working, what isn’t, and what you need to try again to see if you can time it better/get luckier. If you need to change how you’re working and start calling out timing or make suggestions, do it: communication will make it easier.
However, I also want to note that not all costumes really “work” with trampoline pictures. Josh and I did a shoot once with me in my DCAU/Danvers “white t-shirt” Supergirl costume, with the short cape and the tight-fitting miniskirt, and we found it just ended up looking awkward. In fact, we didn’t get a single picture out of it. We got better pictures out of casual clothes. Trampolines make for very weird shoots; if you only have a little cape flying around you, one you can’t really control, then it often just ends up going wherever it wants. I’ve seen Ms. Marvels pull it off with the sash as the moving fabric or even without, but short capes just tend to be like “hey, did you want me around your head? Done.” I think the “flight” illusion gets a lot of help from loose skirts and whatnot, too. Basically, the more moving fabric you have, the more “dynamic” the picture’s going to end up being. Flying and rushing fabric shows motion. By all means, put whoever you want up in the air, but the more fabric you have, the easier it is. (Unless you’re in a ball gown. Then I don’t know what to tell you.)
But all that aside, I think the hardest part of the shoot is just how much you have to control for. It’s HARD to really nail the shots because not only do you need the camera to be focused and fast enough to catch you when you’re moving all over the place, but you also need to be in control of so much. Your expression needs to be right, so you have to “act” while you’re bouncing yourself through the air. You have to watch how you position your feet and legs. You have to be aware of what you’re doing with your hands, how you’re positioning your body, where your hair is –– it’s maddening work, and while you’re doing it, you have to wrangle a cape and/or make sure your skirt isn’t flipping up. (I have no idea how many shots have been ruined because of that, so I’m going to throw in “get yourself some cute hot pants” as advice.)
And I really want you to be prepared for an insane payoff-to-shot ratio. With us, we usually get about 5-8 useable pictures for every 200 shots we take. If you’re experienced with photoshoots you probably know that lots of pictures end up scrapped in ANY photoshoot, but given the nature of trampolines, you’re just more likely to run into the “shame you’re making a fucking weird face in this shot” problem. Or “oops your cape flipped over your shoulder.” Or “PAAAANTY SHOOOOOTTTTT.”
Flying shots without trampolines.
It can be done, but I honestly don’t have much advice for it, because I largely find it’s unsuccessful. Here’s the thing: when you’re on a trampoline, you’re going to be “up” again in a second, and the elastic nature of it is going to soften the blow of impact. When you’re not, you’re climbing to the top of whatever fool thing you’re jumping off of, and then trying to land on what is probably a hard, unforgiving surface.
As such, it is extremely, extremely hard to do a convincing flying shot by jumping off ledges or stairs or whatever. You will be 90% focused on balancing yourself and not wiping out your ankles or going to your knees upon landing that you won’t even think about where your cape is going. “Jumping off a ledge” gives you “falling” shots, and they don’t even make good landing shots. Also, the distinct lack of height means it’s very hard to get a clear sky/good background that doesn’t look like you’re “falling down in front of this building” or “about to plunge off these stairs.”
It’s also exhausting.
So instead, focus on the going “up”, and have your photographer shoot from a low angle to get a more dynamic view.
The key to this is long straight jumps. You’re much more likely to get a good shot if you’re going parallel to the ground, instead of towards it. Take a good running step and leap as though you’re a ballerina or a martial artist or something.
This is semi-successful, but I didn’t push it enough:
Bend one knee and bring it forward so you’re not a flying stick, and do it dramatically enough that you look like you have forward momentum. That’s how we got shots like the Supergirl vs Powergirl one. They aren’t necessarily as dynamic as trampoline ones, but I think they are better than the “I’m about to wipe out on this concrete, aren’t I?” falling ones.
And if you’re doing fighting poses, make sure your swinging arm is up and away, so you don’t block your body/face with your own arm.
Landing shots and simple cape movement pictures.
These are a lot easier than they look, though just as trial-and-error to get the right effect. What you basically need to watch out for is speed.
Think about it this way: when you move fast, your cape is going to rush, and then it’s going to hit you as you stop because it wants to keep going. If you’re moving fast, you’re also making timing more difficult for the photographer.
What you really want to do here is keep your movements “short”. Start from a standing position and then move forward as if you’re doing an aerobics “lunge” move, dropping down to one knee. Hold the edges of your cape as you start forward and release at the mid-way point. You ideally want your photographer to snap the picture just before your knee hits the ground, when your forward leg is at the knee at about a 90º angle. If you can do this motion slow and smooth, your cape will “glide” with you and your photographer has a better chance at grabbing the picture at the right time, in focus and all that jazz.
Want to just get a “standing” shot where your cape is in motion? Instead of turning in full circles (which gets you shots like this) or running to get your cape moving, try a quarter-turn. That’s how Elemental and I got the awesome shot in front of the grey brick wall. Start with your left side to the photographer, holding the right side of your cape with your right hand. When your photographer is ready, swing your right leg to turn yourself to face the photographer and let the cape fan out. The quarter-turn gets just enough motion running through your cape (and skirt) that you get movement going on without going so far that a) the photographer loses you or b) your skirt flips up. The quarter-turn also means you can be facing your photographer the whole time, instead of trying to look at them while spinning in circles.
Hope that helps :)
Right! Sometimes it’s unavoidable. In that case I would:
Hope that helped :) Feel free to let us know if you have any more questions.
Right! I had a picture initially, but there just wasn’t enough room for it.
In the picture, it is just pinned to Josh’s shirt, but how you attach it depends on what character you’re using it for. For Mon-El, it will attach via snaps placed over the collarbones, with decorative discs overtop.
I wholeheartedly recommend snaps as the number one way of attaching capes –– I cannot stress enough how dangerous it can be to have capes sewn directly to your shirt or clasped at your throat, simply because if someone steps on your cape or it gets caught in something, the cape releases instead of yanking you by your neck or trapping you. Of course, some cape styles don’t allow for this –– Supergirl’s Turner cape, for example, loses a lot aesthetically when you attach it via snaps — but whenever possible, please consider your own safety and comfort and just use snaps. Big snaps are certainly sturdy enough to hold it in place, and it also makes it easier to take apart to store, iron, wash, etceteras. Don’t underestimate the usefulness of being able to remove it easily, it just makes your life as a cosplayer a million times easier.
Velcro is another option, but I don’t really recommend it. I hate velcro. I hate the sound, I hate the texture, I hate the finicking to get it lined up properly when you put it on. I hate it. But most heinous of all, velcro and spandex tend to be destructive when put together, as velcro can easily tack to the surface of spandex and destroy the surface when you try to take it off. If you must use velcro, use a lightweight kind.
Alternately, you can close it at your neck with a clasp, but again, I don’t like things that join around the neck. I just cringe whenever I see people wear capes that clasp there, and we altered Emmy’s Batgirl cape so that it would attach from the shoulders instead of the neck for that very reason. I just imagine it getting caught in a door or on an escalator or having someone step on it and cringe. It’s also a matter of weight — if your cape is heavy, then you have all that pressure put directly on your neck all day… that can hurt. So please, please, think of your body when you cosplay and make it easier on yourself.
If you must, though, sew snaps to the back of the neck so that the cape is more supported by your shoulders instead of your neck. This also helps in that if someone steps on your cape, you’ll feel it on the nape of your neck before you feel it on your throat.
So you wanna wear a cape?
(God, this new uploading system is balls. It took me forever to arrange them in the right order, because according to Tumblr, despite the pictures being both numbered and uploaded in order, they should just go where-ever they please.)
In this tutorial you’ll be learning to make a basic single-layer cape that attaches from the collarbones. It is patterned as a circle so that it drapes and flows, giving it a lot of body and “flow” when you walk. It has a hand-rolled hem on all sides to give it a clean, finished look without any raw edges.
It works for characters with “trimless” single-coloured capes, such as Superman, Mon-El, or Thor. I will be doing tutorials for trimmed capes or double-layered capes (or capes that have different coloured layers) at a later date, as well as a proper tutorial on collared capes.
What you will need:
To make things easier, you may also want:
Ready? Here we go.
Spread your fabric out on the nice, clean floor. Fold it in half down the middle so that you have a square. Then fold it diagonally, so that you have a “slice”; the third and fourth pictures demonstrate this, but you basically want to have something that will open up to be one piece. This is going to save you a lot of time pinning the bottom curve of your cape.
Once you have your fabric laid out nicely and the edges lined up beautifully, take your measuring tape and decide how long you need this cape to be. Josh here is 5’7” or so, and we cut the cape to 57.5”, this way the finished cape will land just around his ankles from the back of his neck.
Remember compasses? Not the kind you use to save your lost ass from the wilderness and find “North”, the kind you used in sixth grade math class like twice and thought was really cool but had no practical use for. Well, now you get to do something Similar. Line up your measuring tape with that top “point” of your fabric, so it sits nicely in the middle. Have your friend put their finger on it, with enough pressure to keep it from sliding but still leave it room to “swing”. You’re going to use this to draw a large curve across the fabric, using whatever length suits you — if you want to cut a 58” long cape, then use the 58” mark on the measuring tape to pin across. You can see us doing this in picture six.
Finish pinning the whole way across and then cut just below the pins. When you open it up, you have a big ass cape! (Picture seven.) But it doesn’t have a neck curve yet, and you’ll want to add that so it hangs around your neck nicely. Fold it up again in half (don’t worry about the pizza slice this time) and measure your neck to see how wide you want this neckline to be. We picked 20”, which means we needed to cut an arc that spanned 10”. Now, I’m impatient with math, so I just bent my flexible ruler into a curve and used my measuring tape to make sure it was equal distance away from the corner, but if you’re better at math than I am, you can figure out how many inches you need to “swing” just like you did to cut the bottom of the cape. (A 10” half-circle needs about a 6” swing, for the record.) When you’re done that, cut.
And now you have a cape!
But it’s not finished yet.
If you’re fancy, you may have something called a “rolled hem foot” that lets you do stuff like this easily, but a) I find those things more trouble than they’re worth and b) what am I, a wizard? I’m not fucking around with a foot when I can do it manually. You might be a wizard, though, so if you want to explore this magical sewing foot, you can read someone else’s tutorial here.
But if you’re cool and want to stick with me and learn how to do it manually, that’s cool, too.
Now, if you just folded over the edges once and sewed it down and called it a day, your cape might still be okay. But you don’t want fraying –– that stuff is ugly, and you’ll appreciate the extra work of doing a rolled hem, which is just a fancy way to say “fold that shit over twice.”
Picture 9 shows this pretty clearly, I think –– fold over the edge you want to hem once, iron it, and then fold it over again, so that the ugly raw edge is trapped inside. Pin it all. You’re going to want to pin it very evenly and close together, and TAKE YOUR TIME. If you rush it, you’re going to end up with an ugly, uneven hem, and it’ll bubble up in weird places because you’re hemming a big curve, here. This can be very tedious and take a long time, especially if your cape is huge. (This is why it is usually faster to just make a double-layered cape. UGH, HEMMING.) But the results are worth it; a single-layered cape with beautiful hems is gorgeous and usually less bulky than a double-layered one, so they fly better.
Once you have everything pinned (taking care to pin down the corners neatly, too) you can sew it all. Take your time and make sure the fabric is tight/flat when you sew over it, lest you end up with weird bubbles and misplaced hems. Stay close to the edge of the hem, so that you don’t end up with overhang.
Speed will only sabotage you.
Once you’re done sewing it all down, take out any remaining pins and give the whole thing a good ironing. This should smooth out any remaining warps in your fabric, as you’re using a polyester and they can be warped back into line a little with some heat.
And then enjoy your cape. You earned it.
Go race some airplanes.