Crisp Bytes SC - 30th sept 13 - Page 3

@ Ivy,

Originally posted by: omshreejaanu

I agree Arshi that episode was good but I just didn't "enjoy" that Shradh scene. Excess of anything spoils it n it spoils it for me unfortunately.

CVs r trying hard to get the audience gripped but the drama is unfolding at a too fast pace but still things tend to stagnate or go bak to square one.

I read that kumud will finally decide to tell Pramad about Sara's being naveen!!

Why didn't she tell that today when that man was insisting on that shradh??

What is this tea after death formulae CVs r adopting??

I am very annoyed.

Btw welcome n happy to see CB is back.

hi arshi, watched the show after reading ur post! fast forwarded most of it except the last part where they perform the shrad, what a scene! Gauti and Jenny's expressions were mind blowing! they both acted really well! loved the way they show how after saras's shrad kumud becomes lifeless! now that tells it all!

Arshi ji, The CB Returns?! 😲 Reading your note, I've added epi to my to-do-tonight list... And am witnessing a subtle shift in how you view epi's from now... Acha laga 😳

Originally posted by: Arshics

@ Ivy,

What was different today?

There was no waste and no clutter. Everything in the episode from the dialogues to the scenes were there for a reason. Nothing was lingered upon. And the only thing that had to make an impact, did - the shraad sequence. That is what viewers take away from today's epi... That Pramad did not compel, but Saras 'binded' her, and that ran a jagged shard of glass over Kumud's semi-fresh wounds. And Saras was left to smoulder like the dying embers that he devastatedly beheld... Shraad kiska hua, aur laash kaun bann gayi? I rest my case 😳

Why did it feel clean and smooth?

Because the principles of Continuity Editing were followed, Arshi ji. This ensures that instead of being 'disoriented' you feel sutured/stitched into the narrative. Eyeline match were provided, dissolves were 'invisibly' used to provide a logical coherence between shots, scenes, sequences and the entire episodic narrative. Mirroring of Saras-Kumud FB's (relocation of time within story), to invite the viewer to recall, relieve, get re-affected. Today, did not ask one to take a side, simply to feel for Saras-Kumud both. Use of establishing shots, in the shradh sequence... Setting highlighted upon, AK style. Both GR and Jen 'playing off' each other in the shraddh sequence. Aanshul was definitely the weakest link here... Watched in disbelief as he gave the stock nostrils flaring, nose twitching expression thrice in today's epi... All in different sequences, demanding variation and nuances. First with Kalika, second when he gets angry at Kumud for refusing and third when he sees Kumud's unwillingness to do shraadh rituals in ceremony. One size and face fits all, for Pramad/AT, looks like. Kusum was perfectly utilised today, Shiny left an impact. She was there without frills, without OTT sensationalism, to give a message... This all this is so frickin' futile.

Also, special mention to 'placement'... Which two characters were the 'closest' in terms of physical promixity today? Pramad - Kalika. They were both 'leaning' into each other during the shot, and 'push-back'... Which two characters were the most intimate with each other today? Saras - Kumud, they were enjoined on the level of emotions and memories. Forget 'sharing' FB's, their FB's complemented, fit together like a whole to make sense. Even when Pramad picks up an unconscious Kumud, he is 'straight' and she is leaning away. There is no hold. But with Saras, there is a 'touch' however fleeting...

A flow was maintained, so though the pace was fast still there was some sense of togetherness in the episode

Can you shed some light on why?

Why? I can't say for sure, but it appears AK is putting his stamp on SC and nowhere will be that more clearly felt than in Saras-Kumud's interactions. All else was 'dismissed' today with pace and editing, but the 'dismissal' was done with such directorial panache that you did not get the sense of it at all. Kudo's to AK, and the Editor (name please, from today's credit's someone?)... Director-Editor in sync can create magic. Hope this harmonious collaboration, continues. And as to the 'How', I've outlined above. Trust this has been helpful =)

Originally posted by: -Ivy-

Tonight got 'blocked' so am multi-tasking whilst having brunch... Posted below, for clarity purposes, are the three main principles of continuity editing:

1. Match on Action - Is a technique used in film editing. It is a cut that connects two different views of the same action, thereby creating a flow, and avoiding disruption. Consists of two shots - a character finishes off his action in the second shot that he started in the first shot.

2. Shot/Reverse Shot - Editing technique most commonly used in conversations. One character is shown looking at another (off-screen, mainly) and the other character is shown looking at the first. Since characters are placed at opposites (direction-wise), the audience believes they are looking at each other.

3. 180 Degree Rule - This concerns the spatial relationship between one character and another character or object in a scene and enables the viewer to visually connect and assume a pov for the scene. An imaginary line (termed 'Axis') connects the two characters/object. The camera stays on one side of the 'Axis' for every shot in the scene. This means the first character will always be framed right of the second, who is always framed left of the first. If camera goes over this 'Axis' it is called 'jumping/crossing the line.'

Last, but not least: Gautam Rode, standin-frickin'-ovation... Saara epi ekk taraf... Woh aakhri minutes mein tumhari aankhon ki cheekh (scream) ekk taraf 🥺 Traumatize-worthy 👏 👏 👏

Ivy-
Weren't Saras and his reactions during & after the shradh captured in a Long Take, thereby allowing his class acting prowess to be demonstrated?

Arshi-
Despite the aesthetic sensibilities and emotional impact which we liked, the Shradh scene felt out of place...typically Shradh is conducted on specific periods only in a calendar year...It is not done like it was shown as if you are throwing a party...which is you feel let's do shradh and call a priest and sit down for the puja...

So felt this as a logic ki vaat to fit the narrative...like the karva chauth...

Neways...
Pramad insists on the Shradh to test Kumud's resolve to break with the past.

The positive thing I take away from this is that Shradh also signifies a squaring of accounts with the deceased (saras in this case)...seeking and getting forgiveness (from kumud to saras)...an opportunity to heal (for both)...and bestowing of good fortune on the living (both saras and kumud)..

Also that this gave an opportunity for Kumud to viscerally experience how much she continues to love Saras...this is the 2nd step in her realisation ...the 1st being when she tells her parents that Saras is her strength...

Still a long way to go for her to travel from her current extreme of Pramad side...

BTW:
On the Shradh theme...has Arshi forgiven the ancestors of SC (SP, Mayank, SLB etc.)?
Is CB resurrected after this rejuvenation?

Kya Hai Iss Sanane Sawaalon Ka Jawab?
Jaanne Ke Liye Dekhiye IF ka SC Forum!!
😆

Hgg, this is the shradh period, so that was not logic ki vaat, unlike karva chauth, the speed with which it was arranged was another matter😊, par woh maaf kiya

Ivy, will re watch the episode and try to see those elements now consciously.

Hgg bhai - No, that wasn't. It was mostly S/RS that we were witnessing, alternating between camera angles (high-level, eye-level, birds-eye and pov shots) and shot lengths (Close Up, Medium Close Up, Long Shot). Long Take is extremely rare in films nowadays, except in the avant-garde genre... They take a long time to set up and are extremely easy to eff up. I wouldn't expect TV shows to use long-take. For the medium of tv, it is simply not feasible. FYI, Alfred Hitchcock, Orson Welles, Stanley Kubrick, and Quentin Tarantino are some Masters of the long-take =)