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public:nnels:comics:cbd_scenecomp [2018/08/17 13:14] leah.brochu |
public:nnels:comics:cbd_scenecomp [2018/08/23 11:46] leah.brochu |
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In the context of the panel, it is often helpful for understanding the composition of the scene to say if someone/ | In the context of the panel, it is often helpful for understanding the composition of the scene to say if someone/ | ||
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//Pull out to a wide view of the street. The alleyway is to the far left of the frame. Rick and the horse are seen from behind, near the edge of the panel as they walk past the Café.// | //Pull out to a wide view of the street. The alleyway is to the far left of the frame. Rick and the horse are seen from behind, near the edge of the panel as they walk past the Café.// | ||
- | Note: In the above description, | + | < |
We use left and right as needed, but attempt to minimize their use in order to minimize confusion. Compare the two panel descriptions below - one is from one of our earliest drafts, and the other is from one of the most recent. | We use left and right as needed, but attempt to minimize their use in order to minimize confusion. Compare the two panel descriptions below - one is from one of our earliest drafts, and the other is from one of the most recent. | ||
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**Early Version**: //Rick’s **right** foot is on the landing in front of the screen door, his **left** foot is on the step just below. His **right** arm is stretched out in front of him. To his **left**, a black mailbox with hooks for a newspaper is affixed to a brick wall. On the **left** is a broken window. The broken glass is scattered on the landing.// | **Early Version**: //Rick’s **right** foot is on the landing in front of the screen door, his **left** foot is on the step just below. His **right** arm is stretched out in front of him. To his **left**, a black mailbox with hooks for a newspaper is affixed to a brick wall. On the **left** is a broken window. The broken glass is scattered on the landing.// | ||
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We learned to be far more succinct in our descriptions, | We learned to be far more succinct in our descriptions, | ||
- | The above example also showcases the left/right issue with respect to the point-of-view of the character. We do not usually need to specify which hand is doing an action, unless it is important in some way. Or, if you do describe what “the left hand” is doing, when you describe the right, just call it “the other hand”. | + | The above example also showcases the left/right issue with respect to the point-of-view of the character. We do not usually need to specify which hand is doing an action, unless it is important in some way. Or, if you do describe what “the left hand” is doing, when you describe the right, just call it “the other hand”. |
==== Foreground / Midground / Background ==== | ==== Foreground / Midground / Background ==== | ||
- | An image can be broken into three main layers as viewed by an observer. | + | An image can be broken into three main layers as viewed by an observer. |
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+ | Some guidelines are: | ||
+ | * **Foreground**: | ||
+ | * **Midground**: | ||
+ | * **Background**: | ||
+ | |||
+ | The following example is a panel where we clearly state what is in the foreground, midground, and background. | ||
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+ | {{: | ||
- | These will not all be described for every single panel. You will need to use your judgement to decide what is important to describe, and when. We are trying to achieve a level of description that is not so detailed as to be distracting, | ||
- | * Foreground: You will almost always describe what is in the foreground, but you do not always need to state it. A good example is when you have a panel that is a close-up of a character’s face - describing it as a close-up delivers sufficient information for the reader to accurately imagine the panel. (Note: there might be things in the midground or background, behind them, that you may need to clarify further.) | ||
- | * Midground: You will almost always describe what is in the midground, and will need to state that it is in the midground if there are no further reference points. For example, in this panel we clearly state what is in the foreground, midground, and background. | ||
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//Wide panel.\\ | //Wide panel.\\ | ||
Close view of Rick from the side. Rick is visible in profile.\\ | Close view of Rick from the side. Rick is visible in profile.\\ | ||
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But in the next panel that follows it, we do not need to be so precise, because the scene has been established. | But in the next panel that follows it, we do not need to be so precise, because the scene has been established. | ||
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//Vertical panel.\\ | //Vertical panel.\\ | ||
Pull out slightly.\\ | Pull out slightly.\\ | ||
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Rick’s face is in silhouette as he turns to look toward the house.\\ | Rick’s face is in silhouette as he turns to look toward the house.\\ | ||
“Huh…” he wonders.// | “Huh…” he wonders.// | ||
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- | * Background: The background is described often, and a good rule of thumb to remember is: if the background does not change from the previous panel, you probably don’t need to describe it again. To cut down on repetitiveness, | ||