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Layout and Composition For Animation

Layout and composition for animation

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Sabina Daldovo
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1K views12 pages

Layout and Composition For Animation

Layout and composition for animation

Uploaded by

Sabina Daldovo
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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3C

omposition

© 2010 Elsevier, Inc. All rights reserved.


10.1016/B978-0-240-81441-4.50003-8
• Composing
• Path of Action
3
L eave air around the character.
Let the scene breathe.

This chapter discusses the physical


and emotional compositional aspects
of your story and the placement of
characters within the setting. Having an
understanding of the composition and
shapes used to fill the graphic space of
your canvas, the relationships between
them, and the world you create for them
to live in, will strengthen the story point.

96 Chapter 3 | Composition
Layout and Composition for Animation 97
C omposing
Standards in Film Language These examples are for a standard 1.85
aspect ratio. Widescreen will be tighter.

Extreme Long Shot Full body shape with


little or no detail

Full body
Long Shot

Medium Shot Waist to top of head

Close-up Top of chest to top of


head

Extreme Close-up Eyes

98 Chapter 3 | Composition
Directional Cues
Placement or position of a character in In example 1, the character is in the
a scene depends on the direction the char- lower right-third of the frame just right of
acter is facing and if it’s a single shot. The center. He feels balanced.
character should be just to the left or right Example 2 shows how off-balance the
of center with the center of the field close composition feels when this rule is not fol-
to an eye of the character. lowed. It feels as though you should ex-
The examples given show how the pect to see something happening behind
third’s break-up of space works. and to the right of the character.

Layout and Composition for Animation 99


C omposing

Make a Statement
Another element that needs to be clari- moving down a street stopping at a store-
fied before composing any scene or piece front, the background at the start position
of artwork is to know what the statement of doesn’t need as much detail as the stop
the scene or painting is. position (depending on the speed of the
For example: If a scene starts on a car car). The background is moving from the

100 Chapter 3 | Composition


start of the scene and the car will cover starts on a still and moves to the cut of the
most of it. The camera stops when the scene.
detail shows up and usually you’ll see this
part of the background the longest. Obvi-
ously, the reverse applies to a scene that

Layout and Composition for Animation 101


C omposing

A Little Bit Jumpy


While composing for a project it is very exact, and are placed into the film next to
important to review the scenes surround- one another. The cut will be jarring or look
ing the one you’re working on. You might like a mistake. The examples given show
encounter a jump cut which is when two jump cuts from one to another.
scenes are similar in composition, but not

102 Chapter 3 | Composition


Let It Breathe
These two examples show what “leav-
ing air” around a character means. The
space around the character leaves room
for acting and movement. Composing a
scene too tightly feels claustrophobic.

No Air

Air

Layout and Composition for Animation 103


C omposing
All The Angles
A down shot or upshot push the dramat-
ics of a scene. An upshot is when the point
of view of the camera is looking upwards,
and the down shot is where the point of
view of the camera is looking downwards.

104 Chapter 3 | Composition


A Dutch angle or tilted angle can be
used to give a sense of uneasy and off bal-
ance.

Layout and Composition for Animation 105

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