Setting up shots..the Pixar way

Lissa_xyz

Misty Whisky said:

haven't found the 's' yet. :roll: restarting at the beginning :)

what's the most difficult composition to learn?

There are a few "rules":

Thirds
Odds
Space
Simplification
Geometry & Symmetry
Movement
.... and more

http://en.wikipedia.org/wiki/Composition_(visual_arts)

Mistara

Vaskania said:

Misty Whisky said:

haven't found the 's' yet. :roll: restarting at the beginning :)

what's the most difficult composition to learn?

There are a few "rules":

Thirds
Odds
Space
Simplification
Geometry & Symmetry
Movement
.... and more

http://en.wikipedia.org/wiki/Composition_(visual_arts)

The Golden Ratio :)

http://en.wikipedia.org/wiki/Composition_(visual_arts)#Rule_of_odds

Mistara

needed a refresher read. :)

now if i could get the lighting like httyd

Spit

I think for us it's useful to look at the various composition examples, ie, wide shot, close-up, head-shot, etc. and think in terms of a single frame telling a story. We don't have a movie to do it. Only one frame. And looking at it that way the really useful shots are narrowed down a bit. (This, of course, is aside from the specific composition 'rules' within that type of framing.)

I see two that seem the most 'useful' (to me, anyway). The wide shot that shows the whole environment and also shows the actor(s) within it doing his/her thing and either of the close-ups that show head and shoulder or only head. The closeups with two characters can say a heckuva lot through expressions, head angles, and the background can still convey time period or genre.

The others are of course useful too, but I do think there is a scale of utility for those who are only doing stills.

BTW, I think one of our (well, I should say my but you know what I mean) difficulties in scene creation is that we obtain these great new environments, characters, poses, props, clothing and textures and we tend to want to SHOW them so some of those close head shots can be too easily dismissed. :)

What do you think?