How should I compose still photos that will be animated with a Ken Burns effect?

Yes—images meant for a Ken Burns pan/zoom often benefit from being shot a bit differently than a single-frame still.

A useful approach is to make more of the frame work well on its own, because the effect may move across multiple areas of the image. Keeping more of the scene in focus can help, so using a smaller aperture is often beneficial. That way, when the crop shifts or zooms, different parts of the image still appear sharp and usable.

It also helps if the image is visually consistent across the frame. If one area is much brighter, darker, or more contrasty than another, moving between them can feel abrupt. A more controlled tonal range can make the motion feel smoother and less jarring.

So while the basic principles of good composition still apply, for Ken Burns presentation you should also think about how the image will behave when viewed in sections rather than all at once: broad sharpness, smoother tonal transitions, and multiple usable regions within the frame tend to work better.