WEBVTT

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WEBTOON Advanced
Dolbae's Directing Secrets

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Effective Storytelling Techniques in Webtoons

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Hello, this is Dolbae

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Today, I’d like to talk about directing in storytelling

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What exactly is directing?

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In webtoons, directing refers to

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visualizing a written story

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so that readers can see it

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The film involves actors bringing the story to life through performance

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lighting directors setting the mood with light

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cinematographers capturing it all within the frame

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and background designers creating the set

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Each of these roles contributes to the visualization of a single shot

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In webtoons, however

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it’s often the case that a single creator is responsible for everything

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While many think of directing

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as solely part of the illustrator’s role

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it’s the bridge between writing and drawing

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For instance, a storywriter might 
handle the directing by creating storyboards

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and then passing them on to the illustrator

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Alternatively, the writer could focus solely on the text

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leaving the illustrator responsible for directing and visual storytelling

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Typically, people assume that story writers

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only write scripts and then pass them

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to illustrators

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I know several writers who enjoy working on storyboards

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Conti as well

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Sometimes, the story writer takes on the directing responsibilities

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So I think it depends on

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which writer you work with

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When novice writers collaborate

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they can easily fight during the directing process

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It's that difficult, and each person has a different way of thinking

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and there are big individual differences

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So, the direction is, in my head

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in this episode, there is a scene where someone fights

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and the writer thinks about how to direct it

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and writes it like this

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When I hand this over to the animation artist who directs this story

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the artist says, “This fight should be like this and like this”

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If I direct it

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completely differently than the writer thought

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the writer is really

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invested in my story

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So when I see this direction, I feel a little strange

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And I might think, “This isn’t it”

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Then, if I say

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“This is the direction I thought of”

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“This is the direction I think of”

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This is how opinions can differ

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That's why directing can be a delicate and subjective process

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with different people having different approaches and preferences

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As for me

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I’m a solo creator

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I don’t separate the roles of writing and illustrating

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instead, I handle both

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This means I also care for directing

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bridging the gap between writing and drawing

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In other words, I’m a creator who manages drawing

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As a solo creator, here’s what I think of when it comes to directing

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or when I say, 
“I need to work on the directing for episode 38 starting tomorrow”

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I think of directing like this

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In vertical scrolling webtoons

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there's vertical canvas

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I have a story on a long campus in a vertical scroll

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but how do I put this story in?

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How do I draw cuts, square cuts

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and whether to make them long horizontally or vertically?

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And where do I put the dialogue?

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When do the characters appear

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where do they appear

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what do they look like when they appear

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what angle do they have, what size do they have

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and how do I show the background behind the characters

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I draw these things while thinking like this in front of the computer

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That's why my brain gets very tired when I direct

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The most fundamental aspect of directing webtoons is

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readability

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This means that

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the webtoon should be easy for readers

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to understand

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As a creator and director, your priority should be ensuring that

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Avoid over-the-top or overly flashy directing

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that might disrupt the reader’s understanding of the narrative

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Keep that in mind

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When composing a panel

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you have to direct it with the intention of

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conveying the content well so that the readers can understand it

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For example, if a certain character appears

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Suppose this character is

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someone with a very hidden agenda

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In that case, they should appear very gloomy

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or only show the side of the character

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and intentionally hide

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the frontal view

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as if they are hiding something

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In this way, the content should come first, 
and if you only close up on them

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and think that you should show something else at this point

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like showing the person's watch

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or a full shot of the person

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I think directing with this intention

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is the wrong approach

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I don't think directing

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that doesn't explain the author's intention is good

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This cut was composed like this for this reason

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This has to be clear

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That was the case in the days of published comics

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Since many cuts catch the eye on one page simultaneously

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on one page of paper

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if there are too many close-ups

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or left-hand sides

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it all catches the eye at once

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You might think

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Why are these cuts so boring?

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So, how published comics are done

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differs slightly from how webtoons are

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So, at that time, there was a rule to avoid

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overly monotonous camera work

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So, if you look at it, it has a very different grammar from video directing

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When I first studied published comics

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I saw that when a character appears like this

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they don't appear like this in the next cut but are directed differently

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or they put in a full shot

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and compose the cuts in a very flashy way

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But webtoons are different from published comics

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You look at one cut and scroll down

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Another cut is below like this

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Then, like a video

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you look at the previous cut and put it away

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You see the next scene

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This is why you forget the previous cut

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when you turn to another cut

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This is because it is in vertical scroll format

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That is why I think the directing method of webtoons

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is more similar to the formula of a movie

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than that of a published comic book

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Webtoons are much harder

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to concentrate on than paper books

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Since you are viewing them on an electronic device such as a cell phone

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the light is so bright that it tires your eyes

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and since you are constantly scrolling, the cuts keep moving

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 So your eyes keep going back and forth like this

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That is why it is very difficult to concentrate

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Unlike books

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you can read and follow them with your eyes

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However, scrolling requires moving your fingers

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back and forth

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which can greatly interfere with concentration

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That's why webtoon readers

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are much less loyal

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than comic book readers

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Only when the writers provide a good story

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can they follow it

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That's why, more than in the era of published comics

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we writers have to visualize the story

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in an easy-to-understand

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and readable way

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In short, isn't it a bit boring

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when we direct?

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Rather than boring directing

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focus more on directing that is easy to understand

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The readers won't understand anyway

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Even if I give them flashy directing

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or refreshing directing

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it's really hard to make them understand anyway

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So, make them understand first

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and then I can do directing

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that stands out a bit

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So, I think it's good to convey the essence of the story

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with simple directing but also add a little more to it

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with flashy directing to provide something to see

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But sometimes

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There are times when you need to show

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not only simple directing

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but also very flashy and extravagant directing

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Those times are when a story is needed

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So, the story is this kind of story

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but this story has a very strong impact

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and a lot to show

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and at that time, flashy directing is needed

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That's why, as I said earlier

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you need to approach it with the idea 
that readable and understandable directing

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when the story is needed

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helps this directing

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and the story shouldn't help the directing

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 It would be good to think of directing as something

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that complements the story well

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But how can we improve readability?

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It's good for people who are good at speaking

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but when you're good at speaking and conveying something well

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it's good for them to think from the listener's perspective

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It's good to think, 'If I do this from the listener's perspective, 
it will be easier to understand'

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If I introduce this from the viewer's perspective

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it will be easier to understand

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There are some rules in the vide

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Rules that increase readability and understanding

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First, there is the 180-degree rule among the movie rules

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It is good to follow this rule as much as possible

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The 180-degree rule may seem difficult

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Simply put, it means that if there is one cut

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or if it is a movie, one scene

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the direction of the characters in that scene

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should be unified as much as possible

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I said as much as possible, right?

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But the reason I said as much as possible is

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because of this rule, this 180-degree rule

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It is good for the character always to maintain

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the same direction in the scene

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This rule can often be broken depending on the writer's intention

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I recently watched a movie

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and I think the director wanted to portray

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the character's evil nature

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or extremely evil, in the movie

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So, in that scene, the character

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kept changing directions in a very uncomfortable way

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 That's why the viewer feels puzzled

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They feel puzzled and wonder why he suddenly changed directions

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It's very awkward in the scene but not in the manuscript

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That's what the viewer can feel

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So when we draw

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if we want to express awkwardness in the manuscript

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or show the character's unstable psychological state

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when you want to show something unstable

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we can break this 180-degree rule

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However, if there is no special reason

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it's better to stick to it

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Let's look at an example

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Here, Cucumber and Dolbae are having a conversation

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Cucumber is standing on the left and looking to the right

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and Dolbae is looking from the right to the left

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Looking at the second cut, 
you can see that the direction has changed

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and Dolbae is looking from the left to the right

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If you turn the camera

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Is Dolbae turning around and looking at someone else?

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the readers will think like this

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The direction has suddenly changed

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So naturally, between these cuts

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is a scene where Dolbae turns around

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Unlike videos, in webtoons, there are cuts

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It’s called a gutter

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and the readers’ imagination is left to decide

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what’s happening inside

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So, there’s a scene where someone is talking

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Two people are talking like this

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and then the next cut appears

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If something else appears in the next cut

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the readers will think that

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there is something between these cuts

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so they think that Dolbae is turning around

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and looking at someone else

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But in terms of the story, there’s no such content

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Then, something feels strange

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So, to make it seem like the conversation is continuing naturally

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you can reverse this direction in this second cut

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You can just go back to

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the original direction of the Dolbae

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Then, the readers will naturally think

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Oh, they’re just talking here

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It's how they think

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This may seem very trivial

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but if these minor issues

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and incomprehensible situations are repeated

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readers tend to get tired of reading

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That’s why it’s better to avoid

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making minor production mistakes

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that interfere with the reader’s understanding

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because they tend to

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leave the work

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And there are

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overlapping parts in the cuts

271
00:14:17.597 --> 00:14:23.089
That’s the space where the readers’ eyes are most focused

272
00:14:23.089 --> 00:14:27.589
So, if there’s a cut like this, if you place important elements

273
00:14:27.589 --> 00:14:29.620
in the overlapping part

274
00:14:29.620 --> 00:14:33.653
the readers’ eyes will be comfortably focused

275
00:14:33.653 --> 00:14:35.521
This can also be placed

276
00:14:35.521 --> 00:14:38.103
uncomfortably on the edge to show

277
00:14:38.103 --> 00:14:42.069
the character’s anxious and nervous psychological state

278
00:14:42.069 --> 00:14:44.321
However, when there is no reason

279
00:14:44.321 --> 00:14:48.097
it is better to place important elements

280
00:14:48.097 --> 00:14:52.030
in the overlapping thirds that are most easily visible to readers

281
00:14:52.030 --> 00:14:54.921
For example, if you are talking about a person

282
00:14:54.921 --> 00:14:57.095
you can place the pupils

283
00:14:57.095 --> 00:15:00.505
or if you want to emphasize the person

284
00:15:00.505 --> 00:15:02.126
looking at a watch in an insert shot

285
00:15:02.126 --> 00:15:05.495
you can place the watch like this, where numbers go

286
00:15:05.495 --> 00:15:08.552
That part is the important part

287
00:15:08.552 --> 00:15:11.386
the overlapping thirds

288
00:15:11.386 --> 00:15:13.107
It is good to place

289
00:15:13.107 --> 00:15:16.703
important elements in the most visible places

290
00:15:16.703 --> 00:15:19.888
Also, when drawing a person in a cut

291
00:15:19.888 --> 00:15:22.284
there is the person’s gaze

292
00:15:22.284 --> 00:15:25.877
So when readers look at the cut

293
00:15:25.877 --> 00:15:31.109
and see the person, they look at the eyes

294
00:15:31.109 --> 00:15:34.168
We also always look at the eyes when we talk

295
00:15:34.168 --> 00:15:35.815
The eyes are very important

296
00:15:35.815 --> 00:15:39.574
so we tell you to place the eyes

297
00:15:39.574 --> 00:15:41.743
in the overlapping two-thirds part

298
00:15:41.743 --> 00:15:47.130
Also, when you look at the eyes, 
there is the place where the person’s gaze is

299
00:15:47.130 --> 00:15:48.838
If you look like this or like this

300
00:15:48.838 --> 00:15:50.764
it is better to give more space

301
00:15:50.764 --> 00:15:53.465
in the direction where the gaze is directed

302
00:15:53.465 --> 00:15:56.438
When we look at people, we unconsciously look

303
00:15:56.438 --> 00:15:59.505
in the direction they are looking

304
00:15:59.505 --> 00:16:03.572
So when we look at webtoons, if the main character or characters

305
00:16:03.572 --> 00:16:06.054
are looking somewhere, whether they are blankly staring

306
00:16:06.054 --> 00:16:08.198
or looking intently like this

307
00:16:08.198 --> 00:16:12.063
it is good to give them a little more space

308
00:16:12.063 --> 00:16:14.990
in terms of visual space in the cut

309
00:16:14.990 --> 00:16:17.282
The same goes for taking pictures

310
00:16:17.282 --> 00:16:20.177
When I talk about directing webtoons

311
00:16:20.177 --> 00:16:23.851
I say it is similar to taking pictures

312
00:16:23.851 --> 00:16:25.619
There are rules

313
00:16:25.619 --> 00:16:28.109
that we have to follow when taking pictures

314
00:16:28.109 --> 00:16:29.826
If the character is looking to the left

315
00:16:29.826 --> 00:16:34.604
we give them more space to the left to explain something

316
00:16:34.604 --> 00:16:38.653
and if they are looking to the right, 
we focus more on the explanation to the right

317
00:16:38.653 --> 00:16:41.902
Readers are curious, just like us

318
00:16:41.902 --> 00:16:43.759
about what the character is looking at

319
00:16:43.759 --> 00:16:46.647
so we give them more information

320
00:16:46.647 --> 00:16:49.198
about the direction the character is looking

321
00:16:49.198 --> 00:16:51.747
This is something I have felt

322
00:16:51.747 --> 00:16:54.699
while watching a lot of webtoons recently

323
00:16:54.699 --> 00:16:59.545
We have a new format called vertical scrolling

324
00:16:59.545 --> 00:17:03.235
In the past, published comics

325
00:17:03.235 --> 00:17:06.274
had very limited space

326
00:17:06.274 --> 00:17:09.871
and there was a limit to the small space

327
00:17:09.871 --> 00:17:14.025
When we came to the format of vertical scrolling webtoons

328
00:17:14.025 --> 00:17:16.891
the proportion of full shots increased significantly

329
00:17:16.891 --> 00:17:18.332
What is a full shot?

330
00:17:18.332 --> 00:17:20.568
It means that the character appears

331
00:17:20.568 --> 00:17:24.356
in the cut from head to toe

332
00:17:24.356 --> 00:17:26.647
The character becomes very large

333
00:17:26.647 --> 00:17:28.401
Since the character is large

334
00:17:28.401 --> 00:17:30.612
the full shot automatically becomes

335
00:17:30.612 --> 00:17:32.584
very long vertically

336
00:17:32.584 --> 00:17:35.141
However, when we look at books

337
00:17:35.141 --> 00:17:37.229
and published comics, as I said earlier

338
00:17:37.229 --> 00:17:38.911
they have space limitations

339
00:17:38.911 --> 00:17:43.238
so full shots are not used at all unless necessary

340
00:17:43.238 --> 00:17:46.484
In particular, even if we include large full shots

341
00:17:46.484 --> 00:17:50.318
they are only used in very important scenes

342
00:17:50.318 --> 00:17:52.381
If we include full shots, the remaining space

343
00:17:52.381 --> 00:17:56.416
unimportant space, goes to full shots

344
00:17:56.416 --> 00:17:59.439
so there was something very inconvenient

345
00:17:59.439 --> 00:18:02.040
when we divided that narrow space

346
00:18:02.040 --> 00:18:05.317
However, when we came to webtoons

347
00:18:05.317 --> 00:18:08.229
we were given the freedom of vertical scrolling

348
00:18:08.229 --> 00:18:09.614
which was difficult to handle

349
00:18:09.614 --> 00:18:12.299
Because of this freedom of vertical scrolling

350
00:18:12.299 --> 00:18:17.545
there are times when space is overused

351
00:18:17.545 --> 00:18:22.230
That’s why cuts are made very long

352
00:18:22.230 --> 00:18:24.388
People are shown from head to toe

353
00:18:24.388 --> 00:18:27.208
and even the shoe brand

354
00:18:27.208 --> 00:18:31.242
However, long vertical full shots

355
00:18:31.242 --> 00:18:35.129
should only be used in important cuts

356
00:18:35.129 --> 00:18:37.717
This is because scrolling

357
00:18:37.717 --> 00:18:40.798
and looking at unnecessary information while looking at the screen

358
00:18:40.798 --> 00:18:43.257
is very tiring on the eyes

359
00:18:43.257 --> 00:18:48.330
and I don’t think it’s necessary to see

360
00:18:48.330 --> 00:18:51.178
the main character’s buttocks and calves while scrolling

361
00:18:51.178 --> 00:18:54.291
So, except for important cuts

362
00:18:54.291 --> 00:18:58.577
it’s good to cut appropriately

363
00:18:58.577 --> 00:19:01.723
from the character’s calf, thigh, or waist

364
00:19:01.723 --> 00:19:04.180
Also, when using a camera

365
00:19:04.180 --> 00:19:06.951
it’s good to think of a medium shot

366
00:19:06.951 --> 00:19:09.861
with an eye-level camera as the basic shot

367
00:19:09.861 --> 00:19:11.976
And unless necessary

368
00:19:11.976 --> 00:19:16.663
don’t raise or lower the angle from the eye level

369
00:19:16.663 --> 00:19:18.813
If you don’t know much about directing

370
00:19:18.813 --> 00:19:22.347
always use an eye-level medium shot as the basic shot

371
00:19:22.347 --> 00:19:25.120
It may seem monotonous

372
00:19:25.120 --> 00:19:26.634
but it’s okay

373
00:19:26.634 --> 00:19:29.745
First, use a medium shot as the basic shot

374
00:19:29.745 --> 00:19:32.767
and if you want to show the character’s movements better

375
00:19:32.767 --> 00:19:34.139
pull the camera back

376
00:19:34.139 --> 00:19:38.574
and if you want to show the character’s expression, bring it in closer

377
00:19:38.574 --> 00:19:42.537
Imagine a camera director is out on the scene

378
00:19:42.537 --> 00:19:46.475
holding a real camera and filming

379
00:19:46.475 --> 00:19:49.032
Imagine the eye level of that camera director

380
00:19:49.032 --> 00:19:52.012
the distance from the character of that camera director

381
00:19:52.012 --> 00:19:54.604
and try directing

382
00:19:54.604 --> 00:19:57.901
The camera director is the reader

383
00:19:57.901 --> 00:20:00.679
Using the camera

384
00:20:00.679 --> 00:20:02.337
as if the reader is at that scene is good

385
00:20:03.400 --> 00:20:06.885
How to Direct a Two-Person Conversation Scene

386
00:20:07.218 --> 00:20:09.933
And this time, let's talk about

387
00:20:09.933 --> 00:20:12.793
how to direct a two-person conversation scene

388
00:20:12.793 --> 00:20:15.089
that people find difficult

389
00:20:15.089 --> 00:20:17.034
There are many situations

390
00:20:17.034 --> 00:20:21.812
but two-person conversation scenes appear very often

391
00:20:21.812 --> 00:20:24.674
When a scene or sequence begins

392
00:20:24.674 --> 00:20:29.564
the content that the writer needs to convey 
to the reader is usually like this

393
00:20:29.564 --> 00:20:33.126
When the conversation is taking place

394
00:20:33.126 --> 00:20:35.762
the time the conversation is taking place

395
00:20:35.762 --> 00:20:39.659
the two people are in what positions and at what intervals

396
00:20:39.659 --> 00:20:42.230
what the conversation is about

397
00:20:42.230 --> 00:20:44.069
the content of the conversation

398
00:20:44.069 --> 00:20:46.777
and what emotional changes occur

399
00:20:46.777 --> 00:20:49.144
between the two people

400
00:20:49.144 --> 00:20:52.584
during the conversation

401
00:20:52.584 --> 00:20:59.059
So, the two people exchange content

402
00:20:59.059 --> 00:21:03.613
Traditionally, the farthest camera is used

403
00:21:03.613 --> 00:21:06.267
when this conversation sequence begins

404
00:21:06.267 --> 00:21:09.851
This is because the reader is bringing the audience to this place

405
00:21:09.851 --> 00:21:11.649
What's happening here is

406
00:21:11.649 --> 00:21:16.871
using the farthest camera as if it's approaching from afar

407
00:21:16.871 --> 00:21:19.327
Then, the camera gradually narrows down

408
00:21:19.327 --> 00:21:22.436
to the subject of the conversation

409
00:21:22.436 --> 00:21:25.166
When directed like this

410
00:21:25.166 --> 00:21:29.673
the situation can be explained to the reader from afar most smoothly

411
00:21:29.673 --> 00:21:33.396
Let's take a look at the table I made

412
00:21:33.396 --> 00:21:36.119
Depending on the function, there will be shots like this

413
00:21:36.119 --> 00:21:37.614
You don't have to memorize this

414
00:21:37.614 --> 00:21:42.015
There's an establishing shot, a master shot, a coverage shot

415
00:21:42.015 --> 00:21:45.743
a master shot, and another establishing shot

416
00:21:45.743 --> 00:21:49.972
Also, depending on the distance, an extremely long shot

417
00:21:49.972 --> 00:21:54.723
The farthest and a long shot, a full shot from head to toe

418
00:21:54.723 --> 00:21:58.759
a medium shot here, a close-up shot here

419
00:21:58.759 --> 00:22:02.574
 and an extreme close-up shot like this

420
00:22:02.574 --> 00:22:04.082
As I mentioned earlier

421
00:22:04.082 --> 00:22:07.066
I'll show you the place where they're talking from far away

422
00:22:07.066 --> 00:22:09.198
and I'll call it an establishing shot

423
00:22:09.198 --> 00:22:13.050
The readers are talking in this place

424
00:22:13.050 --> 00:22:16.802
The room is like this, the color of the walls is like this

425
00:22:16.802 --> 00:22:20.734
and the floor is like this, and you can see what kind of table there is

426
00:22:20.734 --> 00:22:22.713
and things like that

427
00:22:22.713 --> 00:22:25.145
And when it comes to the master shot

428
00:22:25.145 --> 00:22:28.348
I'll show you the master shot in a full shot

429
00:22:28.348 --> 00:22:30.703
showing how these two people are standing

430
00:22:30.703 --> 00:22:33.457
what kind of distance between them

431
00:22:33.457 --> 00:22:35.553
what they're doing

432
00:22:35.553 --> 00:22:38.911
whether they're sitting or standing

433
00:22:38.911 --> 00:22:41.317
From then on, direct

434
00:22:41.317 --> 00:22:44.583
and full-fledged conversations begin

435
00:22:44.583 --> 00:22:46.743
It’s good to talk about the main topic from this point

436
00:22:46.743 --> 00:22:50.110
In the establishing shot, the master shot

437
00:22:50.110 --> 00:22:52.559
it’s good just to do

438
00:22:52.559 --> 00:22:54.762
small talk or something like that

439
00:22:54.762 --> 00:22:56.674
From the coverage shot

440
00:22:56.674 --> 00:23:01.577
But did you do your homework yesterday? You didn’t?

441
00:23:01.577 --> 00:23:05.118
What if you don’t? You can show the main conversation like this

442
00:23:05.118 --> 00:23:08.693
by repeating the coverage shot

443
00:23:08.693 --> 00:23:10.982
When you have that kind of conversation

444
00:23:10.982 --> 00:23:12.764
use medium shot

445
00:23:12.764 --> 00:23:15.309
but the other say he didn't

446
00:23:15.309 --> 00:23:17.871
then this person feels unstable

447
00:23:17.871 --> 00:23:21.540
Then, you can show a close-up shot to show the expression

448
00:23:21.540 --> 00:23:23.655
What if you don’t do it now? What time is it?

449
00:23:23.655 --> 00:23:26.505
you can show a clock and insert a shot

450
00:23:26.505 --> 00:23:30.176
You can use an extreme close-up shot for the insert shot

451
00:23:30.176 --> 00:23:32.967
or show “What time is it?”

452
00:23:32.967 --> 00:23:35.327
and then move the camera away and use a medium shot

453
00:23:35.327 --> 00:23:37.583
to show a scene like “What should I do? I’m going to do it now”

454
00:23:37.583 --> 00:23:40.233
You can show this scene

455
00:23:40.233 --> 00:23:43.940
or you can repeat this

456
00:23:43.940 --> 00:23:46.752
according to the dialogue and content

457
00:23:46.752 --> 00:23:50.204
And when this dialogue, this conversation is over

458
00:23:50.204 --> 00:23:52.223
as if it's wrapping up

459
00:23:52.223 --> 00:23:55.535
the camera moves away again before the conversation ends

460
00:23:55.535 --> 00:23:59.087
It moves away and repeats the full shot and master shot

461
00:23:59.087 --> 00:24:03.314
Then, you show the full shot while saying, "Contact me tomorrow"

462
00:24:03.314 --> 00:24:05.842
The camera moves away again and takes an establishing shot

463
00:24:05.842 --> 00:24:08.164
But when you go back, you say

464
00:24:08.164 --> 00:24:11.456
"Oh, but I don't know if I should do it,"

465
00:24:11.456 --> 00:24:14.624
and you show this room again with the camera moving away

466
00:24:14.624 --> 00:24:17.136
So, suppose you want to move away from the story

467
00:24:17.136 --> 00:24:19.031
or emphasize its completeness completely

468
00:24:19.031 --> 00:24:23.165
In that case, you can end the conversation like this

469
00:24:23.165 --> 00:24:26.763
by moving further away and showing the background farther away

470
00:24:26.763 --> 00:24:29.990
with an extreme close-up shot to make it more complete

471
00:24:29.990 --> 00:24:32.332
If the conversation is long

472
00:24:32.332 --> 00:24:36.305
these coverage shots or these shots will be repeated

473
00:24:36.305 --> 00:24:38.705
So, these shots are repeated

474
00:24:38.705 --> 00:24:40.465
according to the length of the conversation

475
00:24:40.465 --> 00:24:42.795
So there is no rule like

476
00:24:42.795 --> 00:24:46.241
how many shots are placed

477
00:24:46.241 --> 00:24:49.782
It varies a lot depending on the content of the conversation

478
00:24:49.782 --> 00:24:52.600
But in principle, it is natural to do it this way

479
00:24:52.600 --> 00:24:54.523
I'm not saying this is the right answer

480
00:24:54.523 --> 00:24:58.218
but that the readers will naturally accept it

481
00:24:58.218 --> 00:25:01.098
You can freely move the angle at this time

482
00:25:01.098 --> 00:25:04.578
However, for the readability I mentioned earlier

483
00:25:04.578 --> 00:25:06.179
don't swing the camera too aggressively

484
00:25:06.179 --> 00:25:09.188
as we say, "We swing it," don't

485
00:25:09.188 --> 00:25:13.251
You should move it with intention

486
00:25:13.251 --> 00:25:15.800
The camera needs to be very careful

487
00:25:15.800 --> 00:25:17.741
and if possible, the 180-degree rule

488
00:25:17.741 --> 00:25:20.723
it would be good to follow

489
00:25:20.723 --> 00:25:24.506
In each cut, that means keeping the 180-degree rule

490
00:25:24.506 --> 00:25:26.964
it is good to make sure that the character's direction

491
00:25:26.964 --> 00:25:30.564
does not move in each cut

492
00:25:30.564 --> 00:25:33.150
But these orders

493
00:25:33.150 --> 00:25:37.239
I think this is the traditional way

494
00:25:37.239 --> 00:25:41.901
but sometimes, depending on the director's intention

495
00:25:41.901 --> 00:25:43.699
the writer's tendency

496
00:25:43.699 --> 00:25:45.525
or the content you want to emphasize

497
00:25:45.525 --> 00:25:48.557
there are more cases than you think

498
00:25:48.557 --> 00:25:50.574
where this order is changed

499
00:25:50.574 --> 00:25:55.323
I often change this rule

500
00:25:55.323 --> 00:25:57.960
and proceed with directing

501
00:25:57.960 --> 00:26:00.663
Among the coverage shots, I often use a close-up shot

502
00:26:00.663 --> 00:26:03.135
or an extreme close-up shot first

503
00:26:03.135 --> 00:26:04.961
then a medium shot

504
00:26:04.961 --> 00:26:09.614
and then an establishing shot

505
00:26:09.614 --> 00:26:12.502
Why did I do that?

506
00:26:12.502 --> 00:26:17.475
It was to change the traditional and comfortable directing order

507
00:26:17.475 --> 00:26:22.366
so that people would focus on the content I wanted to emphasize

508
00:26:22.366 --> 00:26:25.295
So, if there is a conversation you want to emphasize

509
00:26:25.295 --> 00:26:26.912
try changing the order

510
00:26:26.912 --> 00:26:31.950
For example, is there a shocking subject?

511
00:26:31.950 --> 00:26:36.861
If there is a shocking line like

512
00:26:36.861 --> 00:26:38.649
The person you were dating

513
00:26:38.649 --> 00:26:41.507
was someone you broke up with a long time ago

514
00:26:41.507 --> 00:26:43.193
to emphasize it

515
00:26:43.193 --> 00:26:46.426
use a close-up shot with the line first

516
00:26:46.426 --> 00:26:48.691
then use a medium shot like "What?"

517
00:26:48.691 --> 00:26:51.885
and then show the background and put in an establishing shot

518
00:26:51.885 --> 00:26:57.356
This way, you can change the directing in a sophisticated way

519
00:26:57.356 --> 00:26:59.889
I think being good at visual directing

520
00:26:59.889 --> 00:27:04.119
is similar to being good at speaking

521
00:27:04.119 --> 00:27:06.336
People who are good at speaking

522
00:27:06.336 --> 00:27:08.780
convey enough details to the listener

523
00:27:08.780 --> 00:27:12.044
so that they can immerse themselves in the story along with

524
00:27:12.044 --> 00:27:15.584
the spatial and temporal background of what happened

525
00:27:15.584 --> 00:27:17.665
If you talk without context

526
00:27:17.665 --> 00:27:20.994
go here and there, and talk nonsense

527
00:27:20.994 --> 00:27:25.614
the listener will get bored and lose focus

528
00:27:25.614 --> 00:27:27.586
Just like speaking

529
00:27:27.586 --> 00:27:30.044
when we direct webtoons

530
00:27:30.044 --> 00:27:32.796
we need to guide the viewer

531
00:27:32.796 --> 00:27:35.178
so they can understand kindly

532
00:27:35.178 --> 00:27:37.761
That's why we explained

533
00:27:37.761 --> 00:27:39.886
various supplementary information sufficiently

534
00:27:39.886 --> 00:27:45.178
to lead the reader into the conversation comfortably

535
00:27:45.178 --> 00:27:49.662
That's why you can add a setting shot and a master shot

536
00:27:49.662 --> 00:27:52.109
and approach it that way

537
00:27:52.109 --> 00:27:54.406
The camera looks at the clock

538
00:27:54.406 --> 00:27:56.257
Then it shows the clock

539
00:27:56.257 --> 00:27:59.651
or if you express an emotion like this, it shows the face

540
00:27:59.651 --> 00:28:03.653
It is a good idea to compose it

541
00:28:03.653 --> 00:28:06.386
to make it easy to understand the direction

542
00:28:06.386 --> 00:28:10.320
It may be difficult to hear this just by talking about it

543
00:28:10.320 --> 00:28:15.505
In that case, it is best to draw it yourself

544
00:28:15.505 --> 00:28:18.191
If you draw a lot of manuscripts

545
00:28:18.191 --> 00:28:20.982
things that seemed difficult in theory

546
00:28:20.982 --> 00:28:24.188
will probably become easy to understand

547
00:28:24.188 --> 00:28:27.672
This is how I talked about some of the secrets

548
00:28:27.672 --> 00:28:31.575
of the writer and director

549
00:28:31.575 --> 00:28:34.267
that I felt while working on the manuscript

550
00:28:34.267 --> 00:28:37.459
This may be something that some people already know

551
00:28:37.459 --> 00:28:42.030
and it may be somewhat unfamiliar to others

552
00:28:42.030 --> 00:28:45.277
When working on a manuscript, there are times

553
00:28:45.277 --> 00:28:48.109
when you feel like you’ve hit a wall and are at a loss

554
00:28:48.109 --> 00:28:51.386
At those times, you feel dizzy

555
00:28:51.386 --> 00:28:52.894
can’t see ahead

556
00:28:52.894 --> 00:28:56.426
and wonder how to overcome this difficulty

557
00:28:56.426 --> 00:28:59.731
At times like that, I ask other writers

558
00:28:59.731 --> 00:29:01.286
how they do it

559
00:29:01.286 --> 00:29:05.614
and ask them about their secrets

560
00:29:05.614 --> 00:29:09.027
If you ever get stuck while working on a manuscript

561
00:29:09.027 --> 00:29:14.683
I hope you try the methods I’ve mentioned

562
00:29:14.683 --> 00:29:16.012
This was Dolbae

563
00:29:16.012 --> 00:29:17.099
Thank you

564
00:29:18.459 --> 00:29:20.958
Good directing methods in webtoons
Webtoon directing
The work of visualizing a story written in words so that it can be seen with the eyes
Characteristics of webtoon directing
Directing exists between the words

565
00:29:20.958 --> 00:29:23.315
Directing is a tricky and highly individual area
Directing should not interfere with the understanding of the story
Directing that enhances readability
Keep the 180-degree rule as much as possible
Consider the rule of thirds

566
00:29:23.315 --> 00:29:25.716
Give more room to the character's gaze
Use full shots only for important cuts
Set eye-level medium shots as the default

567
00:29:25.720 --> 00:29:28.383
How to direct a two-person dialogue scene
Elements of delivery in a two-person dialogue scene
Location and time of dialogue
Distance and posture of the two people
Conversation content
Changes in emotions of the two people

568
00:29:28.383 --> 00:29:30.947
Traditional directing style
Traditional directing style of gradually getting closer to the subject of the conversation
Repeated coverage shots using various shots according to the dialogue and situation

569
00:29:30.947 --> 00:29:33.185
There is no need to stick to the traditional method depending on the director's intention or the writer's tendency