Staging and Composition

[Rodney]

Staging and Composition probably should have a forum area of its own but perhaps a separate forum isn't strictly needed. Discussion of these two themes is certainly encouraged and insight into them by practitioners of the craft is always appreciated.

 

There are a lot of similar concepts in 3D staging and composition to photography, filmmaking, illustration... carpentry.... flower arrangement... Staging and Composition can be found everywhere. And what can be applied appropriately can enhance what we produce in CG.

 

Here is an article from Videomaker.com that proposes to set up standing sets for use with live action filmmaking. The concepts found in these five sets are largely applicable in CG but there are some notable exceptions:

 

http://www.videomaker.com/article/7044/2/

 

(Note that I'm posting this link also because there are some other useful tips to be found on the site. Even if not subcribing to the magazine you may want to consider subscribing to their email releases)

 

 

The following are a points in staging and composition I've draw from the basic premise of this article (note that very little of the following is actually in the article but more closely related to staging and composition in CG):

 

- Use the plan view (a view from above) to easily gauge where everything is in a scene. It will particularly help in understanding where the camera is pointing and is therefore representative of what the audience is seeing.

 

- Do not use Chromakey (cutting out of green screened backgrounds or objects) unnecessarily. Green Screens are rarely used in scenes that consists of only 3D objects and more often used with Live Action. The better method in CG is to use Alpha Channels (transparency masks saved in the image automatically) to mask out the unoccupied areas in the scene. Alpha Channels facilitate compositing of multiple images in a similar way as Chromakeying but without going through the unnecessary process of Chromakeying. Chromakeying is generally only be needed when a foreign object is added into the scene that was not created in CG for that scene. The classic example of where Chroma key would be needed is when filming a person who you want to isolate and drop into a CG scene. As you don't want the background you must remove that from the sequence. Similarly, a Garbage matte (a masked area on the screen ) might be needed to remove an unwanted character or object from a live action scene. When working with all digital assets not taken from the real world there is rarely a need to use Chroma key or Green Screen.

 

For economies sake consider creating only those portions of the scene that are needed.

When in doubt ask the question: What will be seen in the camera?

Then allow for all of the camera angles that will be seen.

 

Consider the scale and measurements you will use (this will help with workflow and consistency) especially if you are working with other people.

In the real world a 16x16 feet area is a preferable minimum but the more the better.

 

Consider well the background in each scene. Is one different enough from the next to relate that this is not the same scene we are seeing?

If possible consider removing backgrounds by rendering with Alpha Channels. Then work on the various layers in the scene separately. This can especially be a time saver when everything is perfect except that one little thing that is too bright or works against focusing proper attention on the most important element in the scene.

 

 

Consider substituting images, sketches or simply geometry as temporary proxies for characters, backgrounds and props in the scnee until they can be updated with the final assets. This will help to narrow down the focus of what work is left to be done in the scene.

 

As achieving a specific effect is the primary reason composite will be needed, consider what can and cannot effectively be composited and any special effects that will be needed in the scene. Budget your time to make sure critical effect are achieved first and then add less important effects as time allows you to proceed. Don't waste time on effects that don't contribute... effectively... to the scene. It may be easier to stay organized if all of the various elements are collected into one scene. As plans change, make copies of your Choreography and tweak those. Backup the original in a safe place just in case it is still needed. Save files incrementally (example: Project1.prj Project 1A.prj)

 

For talking heads, consider compositing the background in behind the characters at a later stage in the production. If the set changes you won't waste a lot of time rerendering these talking head scenes. Just pull in the new background as a still or image sequence and proceed. This has the additional advantage of allowing others to work on the set while you are animating the characters in that scene. You may discover that some scenes (especially emotionally charged moments) work better with backgrounds of solid color with only a hint of any objects in the scene.

 

Consider the lighting of the scene. Where is natural light coming from? What time of the day is it? Are the sun or the moon or manmade light sources casting shadows from somewhere outside of the scene?

 

Consider light the background separately from the focal point and characters in a scene. This will help the audience to focus what is important and will allow that to pop out from the areas of lesser importance without losing the emotion and mood set context within the scene.

 

Adding spotlights to illuminate the backround create extra visual richness in the scene