Home: Writing for Comic Books: Chapter Five - Writing the Script: More Terms You Should Know

Chapter Five
Writing the Script
(cont'd)

More terms you should know

In the previous section, I discussed different types of shots. Now I want to address some additional filmmaking terms you should know that can apply when you are writing your plots and scripts.

Two shot - this is generally a medium or medium close shot of two characters where the two subjects have equal prominence in the panel. A "two shot favoring character one" means that character one is more prominent within the panel--usually because this character is carrying an important piece of the plot or action (whether it's dialog, blocking, or a reaction shot).

Zoom In Zoom Out Pan (Right) Dutch Tilt (Dutch Angle)

Over the shoulder shot - the camera is placed behind one character, looking over that character's shoulder at another character or object. This is a variation of the point of view (POV) shot where the audience's attention is being drawn to the same element that the character is focusing on without the audience being asked to identify completely with the character.

Point of view (POV) shot - the camera (and by extension the audience) is seeing something the same way that a character does. This is done to force audience identification with the character.

Reverse angle shot - the camera is placed in almost the exact opposite position that the immediately previous panel. For example, if panel four was over HERO WOMAN's shoulder looking at CANNON FODDER BOY as CFB said something particularly stupid, then panel five might be a reverse angle shot over CFB's shoulder looking into HW's dumbfounded reaction.

Hey, artists! Here's something to keep in mind--when discussing reverse angle shot, you should keep the 180 degree rule in mind. When reversing angles, you want to be careful not to cross the 180 degree line bisecting the subjects of your frame. Doing this will cause the characters to flip position within the panel and be against a completely dfferent background. This can lead to confusing visual cues to the audience. This rule is very important in film, but perhaps less so on a comic book page, but it's worth thinking about as you work out your compositions.

Head room - this is the amount of space between the top of your panel (frame) and the tops of the heads of your characters or the topmost point of an object. Generally you want to leave a little space between the top border and the tops of heads unless you are trying to create a sense of claustrophobia. This is not the same as dead or negative space. Also, keep in mind that caption boxes and word balloons are part of the frame, so head room applies to the amount of space between the tops of heads and the bottoms of copy elements.

Dead/negative space is used to help draw attention to the subject of the panel or is reserved for copy. This is space within the composition that has no artwork in it. It usually white or some other solid color.

Cut away - this means we cut away from the primary focus to something else. This can be a reaction shot within the context of the scene or to someplace completely different to give a sense of meanwhile.

Match cut - this means that panels flow from one into the next in order to give the sense of continuous action:

Panel One
Inside the bank vault. SUPERGUY draws back his fist, preparing to slug MEAN CHICK.

Panel Two
SUPERGUY lets loose with a mighty blow, speeding right toward MEAN CHICK's jaw.

Panel Three
SUPERGUY's fist connects with MEAN CHICK's jaw.

Panel Four
Cut to outside the bank. MEAN CHICK crashes through the wall, carried by the momentum of the blow.

In that sequence, there is a very definite flow of action, each panel matching the action of the previous panel to create a sense of fluid motion.

Jump cut - jump cuts compress time. We move from point A to point E without seeing points B, C, or D. For example:

Panel One
Inside the bank vault. SUPERGUY draws back his fist, preparing to slug MEAN CHICK.

Panel Two
Outside the bank. MEAN CHICK is escorted away in handcuffs by two UNIFORMED POLICE OFFICERS as SUPERGUY watches. Mean Chick's jaw is bruised. There is a hole in the bank wall and rubble on the sidewalk.

The reader should be able to piece together the cause and effect. They saw Superguy about to throw a punch and the bruised Mean Chick being escorted away. We've compressed time, but the audience can assume what has happened pretty easily by the visual clues.

Zoom in - the camera moves closer to the subject.

Zoom out - the camera moves away from the subject.

Pan left or right - the camera pivots from left to right or vice versa.

(Please note that this is not a discussion of filmmaking, so I am not going to get into the differences between zooms/pans and tracking shots.)

Tilt up or down - the camera tilts up or down. (Hmmmm--that one is pretty self-evdient, isn't it?)

Low angle/worm's eye view - the camera is placed below the horizon line (often at floor level) looking up at the subject. This is often used to make the subject look powerful.

High angle/bird's eye view - the camera is placed above the horizon line and looks down at the subject. Often used for establishing shots or to distance the audience from the action.

Overhead shot - the camera is placed directly over the subject's head looking straight down.

Dutch tilt/angle - the camera is at an angle causing the horizon line to not be parallel to the top or bottom of the panel frame. The 60s Batman TV show used this device often.

Formatting the Script >>