These are looking good so far. I like the variety of close-up and wide shots. Consider limiting the angle of view to one side of the character or the other, and try not to flip the viewer's perspective 180ยบ any more than necessary, or we can become disoriented and have trouble following the action. Mateu-Mestre talks about this on p. 27 of Framed Ink. Also, if I remember correctly, in the books the hover boards actually floated above the water, not touching the surface. They used the iron in the river bed to create the mag-lev tech needed for hovering, which allowed them to go "off the grid" instead of being confined to the city streets. They could also move incredibly fast because of the lack of friction—making for a more exciting chase scene!. Anyway, don't forget that idea of MOVEMENT has to predominate in a chase scene: the danger of dying in some kind of high-speed collision vs. the danger of going too slow and being captured.
Yeah I was gonna say, when she goes into the distance and then switches directions coming toward the camera, that threw me for a loop a little, especially because the setpieces looked nearly identical around her. I'm a little confused as to what the UFO things are doing in that one board, too. Maybe take a few extra boards to really choreograph what's going on there so there's no confusion.
Is this in the middle of a scene, or is it the start? Maybe consider some kind of establishing shot and then cut to the close ups on her. I can see advantages to starting close up, though, too. It disorients the viewer, so if that's what you want, stick with it. But as far as showing danger, maybe try to up the ante somehow? Maybe more big rocks sticking out of the river or something like that? I don't know...
These are looking good so far. I like the variety of close-up and wide shots. Consider limiting the angle of view to one side of the character or the other, and try not to flip the viewer's perspective 180ยบ any more than necessary, or we can become disoriented and have trouble following the action. Mateu-Mestre talks about this on p. 27 of Framed Ink. Also, if I remember correctly, in the books the hover boards actually floated above the water, not touching the surface. They used the iron in the river bed to create the mag-lev tech needed for hovering, which allowed them to go "off the grid" instead of being confined to the city streets. They could also move incredibly fast because of the lack of friction—making for a more exciting chase scene!. Anyway, don't forget that idea of MOVEMENT has to predominate in a chase scene: the danger of dying in some kind of high-speed collision vs. the danger of going too slow and being captured.
ReplyDeleteAwesome! Thanks Justin! How would you suggest adding more movement or danger in a sequence? It's something I struggle with.
ReplyDeleteYeah I was gonna say, when she goes into the distance and then switches directions coming toward the camera, that threw me for a loop a little, especially because the setpieces looked nearly identical around her. I'm a little confused as to what the UFO things are doing in that one board, too. Maybe take a few extra boards to really choreograph what's going on there so there's no confusion.
ReplyDeleteIs this in the middle of a scene, or is it the start? Maybe consider some kind of establishing shot and then cut to the close ups on her. I can see advantages to starting close up, though, too. It disorients the viewer, so if that's what you want, stick with it. But as far as showing danger, maybe try to up the ante somehow? Maybe more big rocks sticking out of the river or something like that? I don't know...