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A Comparative Study on the Production Composition of Flat Moving Pictures and Stereo-Scopic Images -focusing on strength and direction-
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평면영상과 입체영상의 연출 구도 비교 연구-힘과 방향을 중심으로-

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Type
Academic journal
Author
Journal
The Society of Korea Illusart The Treatise on The Plastic Media Vol.13 No.4 KCI Accredited Journals
Published
2010.11
Pages
109 - 116 (8page)

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A Comparative Study on the Production Composition of Flat Moving Pictures and Stereo-Scopic Images -focusing on strength and direction-
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A good screen composition is essential to easily convey the contents of the moving pictures to the audience. Traditionally, the golden section cut was frequently used when arranging static paintings or still cuts. This is because it is also one of the most suitable screen composition methods to help the understanding of the audience. However, there are many difficulties in applying this golden section cut in dynamic images (flat, stereo-scopic). While painting or still pictures have a composition within a fixed frame, because moving pictures form a composition in a moving screen, if the golden section cut is applied by pausing the moving picture at any one point, it will cause an inconsistency with the next image and thus interfere with the audience understanding its contents. This problem can be even more severe in stereo-scopic images. The biggest difference between stereo-scopic images and flat screen images is its depth, and this is because not only the left and right of the screen, but also the front and rear of the screen must also be considered in its composition. Stereo-scopic images are expanding the composition space by arranging the composition elements of the screen from deep in the screen to right in front of the audience. Therefore, the production composition of stereo-scopic images and flat screen images should be considered from a different perspective, and flat screen images should be approached from a flat perspective and stereo-scopic screen images should be approached from a dimensional perspective. In other words, the screen of 3D images is not flat, but dimensional, and the screen composition should be produced from the perspective that the audience is included in the 3D screen. In addition, when producing the composition, it should be done so by taking into consideration not only the golden section cut, but also the strength and direction in the screen, the relationship of the strength and direction of outside of the screen and the constituents, and the relationship of strength and direction of the space inside of the screen and the constituents.

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