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Old 09-22-2009, 02:02 PM   #53
jrod
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Join Date: Jan 2005
Location: Arlington, VA
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Quote:
Originally Posted by Dan Hill
Looking at that the second one seems more balanced, in the fact that there seems to be an equal amount of time between the panels rather than the first example where the time between panels starts to get less and less as they progress.
And I think it works, depending on what you wanted to show. I think the way it's laid out now, it works as a story that at first focuses on the monotony of the commute and all of the people going about their business, and then hones in to the monotony of your world. I think the first half should feel almost claustrophobic, people crowding you in on the bus and on the streets, played against the kids who have room to run and play. Then ,when you get to the police station, you can play with angles and exaggerations. Worms eye of the staircase which goes up into nothingness, stack of papers that go up out of panel - these kinds of techniques actually imply a longer duration between panels, believe it or not.

Think of it this way - you have a panel with someone walking up a staircase. The next panel is this person at a desk. In one implementation of the first panel, we have a medium shot of the person taking his first step, we see the top of the staircase. In the other implementation, we see a worm's eye of the person taking his first step, but the staircase disappears into shadow. The person goes from point-a to point-b in the same amount of gutter time, but in the latter example the panel time has an inherent feeling of greater duration.

What you would do, is set a cadence in the first part, set gutter time so that we see shifts in location, we know that there are large gaps. Then slow down the panel time, so that the monotony and slowness of the day become internal and perceived, it's no longer this universal time, it's your internal clock, how the world slowed down even more for you.

You see what I mean? Thoughts?
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