Posted:
I am in love with the cinematography in Geet. The technical team has been at this for quite sometime and have delivered good quality of work consistently.
This thread is for appreciating the people who present the entire package to us viewers and allow us to make wonderful memories.
Besides the storyline, the pretty faces, good acting and well chosen music, the camera work in some episodes have been amazing and the quality has been top notch; almost movie like.
When I tried to pick out the scenes which I really loved, purely from a technical point of view, I ended up choosing a scene from at least two episodes a week. So I categorized them under broader umbrella so that its easier for me to sift through and also to write.
(Suggestions, discussions, recommendations, analysis, arguments, critiquing, comments - all are most welcome. I really hope to learn more about seeing a scene from the eyes of a technician and I hope this thread will help me so)
Below are my five favorite picks for sheer brilliant cinematography.
Theme: Juxtaposed.
Maan and Geet in same frame with strident duality expressed by each of them.
5) Maan searches for Geet after her sari gets torn. He finds a room for her to change into her normal clothes.
I liked the play of light in this scene. Maan stands in semi darkness and Geet in light of the room's hallway. The burning candle in the background softens the entire effect of her being depressed and him being angry and confused at his concern for her. A door separates them is held open by Maan (cannot be seen in this picture, unfortunately) and he does not look at her. He allows her to be herself in her embarrassment while Geet simply looks on.
4) Geet searches for Maan for to thank him for his concern. Set during "Kehana Hi Kya" sequence
This is my favorite moment / shot in the entire sequence. He is searching for her and has almost caught up in the chase. The entire sequence uses minimal lighting, white drapes flowing in wind which heightens sensuality and camera moves along with Geet with Maan being in background for most part of the sequence. I loved again the closeups of Maan with Geet hovering in background and looking at him. Again she is under less lighting which pronounces Maan's profile even more implicating their situations.
3) Behene De sequence - The beginning part of it
I have this on my list purely because of this one shot. What would have passed on as yet another rain sequence in a TV series (from a technical stand point) this one scene made all the difference. Camera seems to only focus on Geet and the way she enjoys rain which brings her bittersweet memories but it has a profound effect on Maan who is only looking at her, mesmerized. The duality of two emotions is wonderfully captured in this moment as Geet sees the falling raindrops on her palm and Maan only looking ahead. Mystifying effect, really.
2) Geet and Maan in Amritsar
It was impossible for me not to like this scene. I liked this scene the most when Maan passes by, both unaware of each others existence yet he is there when Geet takes the biggest decision of her life. The temple in the background only adds to the serenity of the sequence. Most part of the sequence is a wide angle shot only this being an exception. The scene was completely calming and the whiteness of Geet's dress shouts of repose.
1) Teri Deewani sequence
My favorite shot till date. The entire sequence is brilliant. Maan remains in dark for most part of the sequence as the entire sequence is shot from Geet's point of view. The whiteness of the clothes brings light to the otherwise dark ambiance. (While watching this, I was reminisced a lot about the song Dil Se where in there is an almost similar sequence where SRK looks on at Manisha Koirala as she places flowers on a grave.)
The entire sequence has exceptional quality and the contrasting light and dark spaces in dargah acts as a reflection of Geet's confusion. In this shot I like that Geet is shown in background, even though the scene is shot from her perspective and Maan is zoomed in for the effect. I was very much reminded of Mani Ratnam's style of camera work here - especially the way he uses darkness to his advantage to convey something emotional, soft and alluring.
This one shot manages to capture everything that the two protagonists represents. The divinity factor decorates their own emotional state and delivers the point home impeccably.
This sequence is going to be my favorite for sometime to come.
Sookie
This thread is for appreciating the people who present the entire package to us viewers and allow us to make wonderful memories.
Besides the storyline, the pretty faces, good acting and well chosen music, the camera work in some episodes have been amazing and the quality has been top notch; almost movie like.
When I tried to pick out the scenes which I really loved, purely from a technical point of view, I ended up choosing a scene from at least two episodes a week. So I categorized them under broader umbrella so that its easier for me to sift through and also to write.
(Suggestions, discussions, recommendations, analysis, arguments, critiquing, comments - all are most welcome. I really hope to learn more about seeing a scene from the eyes of a technician and I hope this thread will help me so)
Below are my five favorite picks for sheer brilliant cinematography.
Theme: Juxtaposed.
Maan and Geet in same frame with strident duality expressed by each of them.
5) Maan searches for Geet after her sari gets torn. He finds a room for her to change into her normal clothes.
I liked the play of light in this scene. Maan stands in semi darkness and Geet in light of the room's hallway. The burning candle in the background softens the entire effect of her being depressed and him being angry and confused at his concern for her. A door separates them is held open by Maan (cannot be seen in this picture, unfortunately) and he does not look at her. He allows her to be herself in her embarrassment while Geet simply looks on.
4) Geet searches for Maan for to thank him for his concern. Set during "Kehana Hi Kya" sequence
This is my favorite moment / shot in the entire sequence. He is searching for her and has almost caught up in the chase. The entire sequence uses minimal lighting, white drapes flowing in wind which heightens sensuality and camera moves along with Geet with Maan being in background for most part of the sequence. I loved again the closeups of Maan with Geet hovering in background and looking at him. Again she is under less lighting which pronounces Maan's profile even more implicating their situations.
3) Behene De sequence - The beginning part of it
I have this on my list purely because of this one shot. What would have passed on as yet another rain sequence in a TV series (from a technical stand point) this one scene made all the difference. Camera seems to only focus on Geet and the way she enjoys rain which brings her bittersweet memories but it has a profound effect on Maan who is only looking at her, mesmerized. The duality of two emotions is wonderfully captured in this moment as Geet sees the falling raindrops on her palm and Maan only looking ahead. Mystifying effect, really.
2) Geet and Maan in Amritsar
It was impossible for me not to like this scene. I liked this scene the most when Maan passes by, both unaware of each others existence yet he is there when Geet takes the biggest decision of her life. The temple in the background only adds to the serenity of the sequence. Most part of the sequence is a wide angle shot only this being an exception. The scene was completely calming and the whiteness of Geet's dress shouts of repose.
1) Teri Deewani sequence
My favorite shot till date. The entire sequence is brilliant. Maan remains in dark for most part of the sequence as the entire sequence is shot from Geet's point of view. The whiteness of the clothes brings light to the otherwise dark ambiance. (While watching this, I was reminisced a lot about the song Dil Se where in there is an almost similar sequence where SRK looks on at Manisha Koirala as she places flowers on a grave.)
The entire sequence has exceptional quality and the contrasting light and dark spaces in dargah acts as a reflection of Geet's confusion. In this shot I like that Geet is shown in background, even though the scene is shot from her perspective and Maan is zoomed in for the effect. I was very much reminded of Mani Ratnam's style of camera work here - especially the way he uses darkness to his advantage to convey something emotional, soft and alluring.
This one shot manages to capture everything that the two protagonists represents. The divinity factor decorates their own emotional state and delivers the point home impeccably.
This sequence is going to be my favorite for sometime to come.
Sookie
Bade Achche Lagte Hain Naya Season
Cricket
