Ghum and art of film making

Something that has been on my mind for the past few days and wanted to know more about this. Since the people on the forum are my only connect to this industry, I would like to know from writers and forum members more about this.

So, first off I want to know the process of film making as a broader term.

Like who gives the basic outline and who writes the actual dialogues..

Then I assume it is the director/cinematographers job to visually translate the writing.

And finally the actors to emote it.

The visual part I understand owing to my education, I wanted to know how this conversion of written text to screen happens.

If anyone is interested, I can explain briefly how the principles of design are used in framing of the shot, colour schemes and positioning.

So, the acting/emoting is the last stage and how the scene is received depends a lot upon on all the previous factors rather than just actors. Of course, good actors elevate script like anything and bad actors fail at nicely written plot but that's another discussion.

And I understand that although film making is a larger term, the approach to a film, limited series and daily soap would differ significantly.

The reason I wanted to know this, is a pattern I noticed in Ghum in past few days and I wanted to get an opinion if is it only me who felt so? Or even if isn't what do you guys think?

The pacing of the episode is being done in such a manner that only few characters and a particular issue is highlighted in a single episode.

For example, V manaofying episodes were dedicated only to SaiRat with no CN drama.

Later, proposal day 1 was Sai, day 2 was V, day 3 was BK, day 4 was Sairat and today was Pakhi.

Is it intentional?

While how the episode lands with me depends on what I feel about the character in focus or the way it was delivered, but to me personally I felt that this is working better rather than a mish mash of all characters getting some few seconds of screen time.

Like BK wala episode gave a wonderful insight into her character to me.. Had it been spread across several episodes, the effect may have been lost. I dont like BK much, but why I dont like became clear in that particular episode. As in the all at once diatribe by her helped me understand her better.

Secondly, without getting into the content of the story (toxicity aside), does this work better to focus on one character/one aspect instead of making a khichdi? As in they can only fit so much in a 20 min episode... and here's where it differs from a film.

Also, in a daily soap there has to be a potential drama everyday otherwise it would be boring... and here it differs from a limited series.

So is it better for the character and his/her feelings/emotions are better put out?

Again, as example... V-Sai had a significant ILU moment today and conversation with ShiviRaj but the overbearing feeling that has stayed with me is Pakhi ka outburst and Sammy ka hurt.

Is it just me who is reading all this?

We crib about bad camera angles, sloppy writing and missed opportunities but then who takes a call on all this?

And how does the translation of words to the screen happens?

What is the process?

Another reason I am asking this is, many of us including myself get worked up on some of the aspects that we dont like but probably in the long run and viewed in entirety... it feels different. So, if something like this is intentional, it would be better for my sanity to not pay much attention to the character in focus in that particular episode.

Visually and aesthetically I see a lot of change... the treatment is different... I can explain in detail to anyone who wants to know. There are few scenes and few frames that have stayed in my mind.

There have been increasing instances of parallels being drawn to previous episodes and they are not the obvious ones through flashbacks.

Please feel free to respond, but I want it to be honest and not a comment on acting abilities or personal equations or the content or the story.

It is more of how that story is represented!!!

Yes even I felt that .. and they also point out in hotstar blurbs .. today effectively the story was on patralekha…,though I really don’t like her acting or dialog delivery.. she clearly belongs to those mythological shows where she can play those purana , Tara type of Roles . nothing moved much on Sai virat front just I love you ..

Yesterday was clearly Bhavani’s day ..boy and did she own it ..

it’s a treat to see her evil unleashed .

virat has been subdued lately I hope to see him active tomorrow

I know nothing about film making or story writing.. just wanting to know like you

I will add whatever I have seen so far.

Right now, making of a film or a TV serial is an art.

A lot of people are involved, of different expertise.

The story starts with a short summary, then the characters are added and fleshed out. On a piece of paper.

The story is expanded further on a timeline. Most of the time, when a serial starts, its end is not known.

If the serial is based on a book/novel or is an adaption, these steps are mostly skipped or diluted.

The story is expanded by a team of writers. They are unknown to each other. Many times, the makers ask for many tracks before hand and then depending upon the market requirement (TRP) a particular track is taken up.

Once a track is taken up, the creatives decide on the translation, dialogues (most of the time, the story is in English), costumes, shooting locations, VFx etc.

The directing team then moves in with final touches on the camera angles, lighting, background music and dubbing.

Outdoor locations are expensive and daily soap makers generally tend to avoid this. Use of any animal needs further clearance. A cockroach or a chhipkali is better shown through VFx for predictability. If a minor is shooting, then the parents have to consent and are present throughout the shoot.

Fire is through VFx generally, otherwise the fire brigade is on the location.

Hope this helps.

The team of writers keeps changing and that explains the disconnect you see many times. Plus there is tight deadline, The current team may not know what was shown earlier.

Enough of ranting.

Exactly... and like we discussed yesterday...

Its a limited time thing... they can only show so much in 20 mins...

For us, it has been a week but for the characters... abhi ek din hi chal raha hai...

so technically we cannot say that so n so didnt speak up today.... its a same day for them

Also, even though the whole instigation to BK was because of Pakhi... she didnt have a single dialogue yesterday but spoke everything today.

Thats an interesting approach to me... atleast ek hi baar main clear ho raha hai mujhe aur baki characters ko ki dusra kya sochta hai

Yes...I have these and many more curious questions on film making..waiting for replies...

What I noticed in ghum around Sai college function (Bollywood dance) untill anniversary is that they were ktrying to keep the screenplay busy...i.e many scenes in one episode. The story might not move...but the episode will rush quickly. They were also also experimenting with fast storytelling....plot moving quickly. After anniversary, they seemed to have changed tactic.

I have honestly liked their rushed episodes better a lot of times...because if an episode is dedicated to one or two characters, the dialogues have to be engaging. That is a great weakness in ghum - lack of reasonable, meaningful dialogues. It is repetetive, mundane and pointless...it is then better to rush through. If, however, the screeplay and dialogue is tight, definitely better to watch a lonng scenes dedicated to one or two characters than having few minutes of many characters in an episode.

Writing has improved just a tiny bit these days...so has direction, camera work. But still lots of room for improvement.

Do write about whatever you know about how a scene is conceived. Would like to read it.

Tagging Asmi since she pays attention to these things....

Thank you for explaining this...

This is what I wanted to know...

Ofcourse it is a creative process and takes various individuals... so yeah getting everything correct every single time must be difficult.

Another question...

How is the track fleshed out? I mean, is everything written in advance or some of it and depending upon the response it is detailed further?

For example, there was the diya bujhoaing earlier, then the sangeet had lot of reference to diya and it came back again today when Sai said that I have kept it lighted...

So this surely looks like planned and not random addition.... but are these minor details also planned or just a broad outline for a track?

Please tag more people who might be interested and offer viewpoints

I am not sure how the scene is conceived visually...

But I am trained Architect.. so design composition, how it will be received is a big part of our learning exercise. The same elements are present in all design approaches...

be it Visual communication, product design or physical design.

That I can interpret...

If you have read, I have made a long post on aesthetics of Tum Tak from the holi sequence.

Should I post it here again?

Yeah...do post it😊

I dont think I have read that..

Wrote this in Msin's thread on that day..

Holi Sequence 2022 - Tum Tak

-------

Hijacking your topic for my love of tum tak . Sorry

First off... I absolutely love this song. It's pure magic.

Only Rahman can take a simple word like 'tum tak' and weave it into the song as a part of rhythm and beats.

"Meri har manmani bas tum tak"

"Baatein bachkani bas tum tak"

The camera focuses on V for the first line and on Sai for the second.

The lines represent their character traits.

"Mere sukh dukh aate jaate saare tum tak"

V sees a hand shielding him, turns and realises its Sai. His relief and faith in her is substantiated.

That overhead shot was . I dont think they have ever used it for SaiRat.

She is his solace

It's a full non verbal communication that happens in between the next few lines. Exceptional work by Ayesha Neil.

The instrumental part picks up and it's a specific shehnai music relevant to weddings. Sai sees V picking up colour and it makes her emotional. Tears form in her eyes that fall when the beat picks up to proper wedding shehnai.

"Dil se hum tum" in female voice.

She has accepted him in her heart

The colour falls and Sai shields him again... This time with dupatta. V definitely relates to the previous Holi.

"Naino ke ghat le ja... Naino ki naiyya"

"Patvar tu hai meri, tu kevaiyya"

V moves towards her to probably kiss her but too intoxicated falls on her at these.

She is his patvar and kevaiyya (boat and boatman both who will help him ride the storm)

SaiRat walk off at

"Meri khatam kahani bas tum tak"

The end is focused only on SaiRat and the rest is blurred for effect.

I frankly did not anticipate that it will turn out this good.

Thanks to the new director and new cinematographer. Absolute beauty it was.

----

Added the italics now... as what I interpreted...