Now that we know what the characters are doing, they are our actors, thinking cinematically, how do we, the camera operators want to show it? Learn to choose the right angles, and what certain angles do to help or hurt the story we are trying to tell.
- [Voiceover] Picking out the pose, and the angle,…and the best way to show each action…is only part of the battle.…To be fair, these aren't even panels at all yet, are they?…They're just sketches.…So let's talk about making them actual panels.…Alright, so, of course we could do that…by simply putting a big box around this and -…voila, we have a panel.…But is that really the best way to show this image…that we worked so hard finding that perfect angle…and camera distance and whatnot?…Probably not.…This might work if you have your character needing…a lot of room for speech bubbles as they recite…The Declaration of Independence, but it's obviously not…the best way to put this into an actual panel.…
We don't really know the best way yet,…so we have to do some brainstorming.…I like to do that by creating a new layer…and making whatever that sketch layer is…just a little bit dimmer.…I turned the opacity down so we can see what we're doing.…So on this new layer, just trying stuff out.…Do we want him in kind of a wide-screen,…
The main ideas and concepts are dynamic composition, movement, and narrowing down a script to its core actions in a way that best tells the story, and the importance of trying different things, rather than just going with your first idea. Ben illustrates the concepts with examples from his own graphic novels, and includes tips for staying organized and focused as you draw.
- Identifying panels within a script
- Consolidating panels
- Roughing out poses in Photoshop
- Planning panel shapes
- Placing panels
- Finalizing the page