In literature, pace or pacing is the speed at which a story is told—not necessarily the speed at which the story takes place. It is an essential element of storytelling that plays a significant role in maintaining reader interest, building tension, and conveying the desired emotional impact. The number of words needed to write about a certain event does not depend upon how much time the event takes to happen; it depends upon how important that moment is to the story. The pace is determined by the length of the scenes, how fast the action moves, and how quickly the reader is provided with information. A well-paced story effectively balances moments of high intensity and slower-paced sections to create a dynamic reading experience. It is also sometimes dictated by the genre of the story: comedies move faster than dramas; action adventures move faster than suspense. A dragging pace is characteristic of many novels turned down by publishers, and of some that find their way into print but not into the hearts and recommendations of readers. Manuscripts that move too slowly usually discourage readers from reading on. Through various editing techniques, such as cutting unnecessary details, rearranging scenes, or suggesting additions, editors assist in maintaining an engaging pace that keeps readers captivated. Yanna Popova and Elena Cuffari elaborate that as editors they, "explore the participatory structure of a narrative through its temporal unfolding and the specific, non-linear nature of the temporal dynamics of interacting with a storytelling agency". Popova and Cuffari make clear that the way an author unfolds a story through structuring that narrative's tale is essential to the way the audience will interpret it.
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👉 Pace (narrative) in the context of Cutscenes
A cutscene or event scene (sometimes in-game cinematic or in-game movie) is a sequence in a video game that is not interactive, interrupting the gameplay. Such scenes are used to show conversations between characters, set the mood, reward the player, introduce newer models and gameplay elements, show the effects of a player's actions, create emotional connections, improve pacing or foreshadow future events.
Cutscenes often feature "on the fly" rendering, using the gameplay graphics to create scripted events. Cutscenes can also be pre-rendered computer graphics streamed from a video file. Pre-made videos used in video games (either during cutscenes or during the gameplay itself) are referred to as "full-motion videos" or "FMVs". Cutscenes can also appear in other forms, such as a series of images or as plain text and audio.
- ⭐ Core Definition: Pace (narrative)
- 👉 Pace (narrative) in the context of Cutscenes
- Pace (narrative) in the context of Costume designer
- Pace (narrative) in the context of Offline editing
Pace (narrative) in the context of Costume designer
A costume designer is a person who designs costumes for a film, stage production or television show. The role of the costume designer is to create the characters' outfits or costumes and balance the scenes with texture and colour, etc. The costume designer works alongside the director, scenic, lighting designer, sound designer, and other creative personnel. The costume designer may also collaborate with a hair stylist, wig master, or makeup artist. In European theatre, the role is different, as the theatre designer usually designs both costume and scenic elements.
Designers typically seek to enhance a character's personality, and to create an evolving plot of color, changing social status, or period through the visual design of garments and accessories. They may distort or enhance the body—within the boundaries of the director's vision. The designer must ensure that the designs let the actor move as the role requires. The actor must execute the director's blocking of the production without damaging the garments. Garments must be durable and washable, especially for plays with extended runs or films with near-real time pacing (meaning that most costumes will not change between scenes) but whose principal photography phase may stretch across several weeks. The designer must consult not only with the director, but the set and lighting designers to ensure that all elements of the overall production design work together. The designer must possess strong artistic capabilities and a thorough knowledge of pattern development, draping, drafting, textiles and fashion history. The designer must understand historical costuming, and the movement style and poise that period dress may require. Designers must be creative with the clothes they create while understanding the character and how they’re supposed to look.
View the full Wikipedia page for Costume designerPace (narrative) in the context of Offline editing
Offline editing is the creative storytelling stage of filmmaking and television production where the structure, mood, pacing and story of the final show are defined. Many versions and revisions are presented and considered at this stage until the edit gets to a stage known as picture lock. This is when the process moves on to the next stages of post-production known as online editing, color grading and audio mixing.
Typically, during offline editing, all the original camera footage (often tens or hundreds of hours) is digitized into a non-linear editing system as a low resolution duplicate. The editor and director are then free to work with all the footage on assembly, creating a rough cut, and a final cut. Editing the copy allows multiple story and creative possibilities to be explored without affecting the camera original film stock or video tape. Once the project has been completely offline edited, the low resolution footage is replaced with the original high resolution media, or brought online.
View the full Wikipedia page for Offline editing