Crisp Bytes SC - 30th sept 13 - Page 5

Originally posted by: happychappy

Santhi, a similar thought came to me later... Stuff that I dont "want" to think about always surfaces in the middle of the night...😛

When Kusum first rushes to the terrace, she tries to move forward and stop Kumud from doingthe sraddh, - Saras holds her by the hand and stops her.

When Kumud faints and falls, Saras moves to go to her - Kusum holds him by the hand and stops him.

Mirroring of the same action - and is this a pointer to Saras-Kusum holding hands to get Kumud her "happiness"? 🤢 Satyanaash!! Dear Toni, you can stop crying in public... your dearest wishes may be coming true! And I am going to hate it!

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 👏 👏 👏

Originally posted by: smrth

Ashi and Ivy,

Your CB directed me to epi. last night. It was indeed 'affective' in part. Kudos to GR for end sequence👏...

taking some baby steps over Learning thread😳...though Samud scene was quite affective- and intended 'narrative' of the sequence- but as an aside, placement of 'third object' Pramad jarred some 'logic ki vaat' in over all affect...let me explain. If 'eye line Match' across an angle from the Hawan site was perfect in context of Saras and Kumud, was it not somewhat effing on the 'eye line Match' (technique) in 'case' of Pramad's presence? I mean, would not viewers clearly notice- 'Pramad is surely noticing and noting object of Kumud's gaze?? Wouldn't he 'wonder'? In fact in one or two mid shots, he was showed looking at Kumud...so does it mean, he already 'Knew'? Well, perhaps he may as he continued seeing Kalika. But from narrative POV, aren't viewers not 'supposed' to know his 'knowledge'😕...ok please don't laugh at my clumsy effort😔...these are baby steps after all.😳

Originally posted by: -Ivy-

Smrth Bhai, aap aaye bahar aayi... To top that, your 'learning' steps - sone pe suhaga! 😳 👏

Three words, unfortunately smrth Bhai. Suspension of disbelief. That is the requirement for most mainstream work nowadays. You're absolutely correct that eyeline match was effed up... Because Pramad's gaze was never returned. But there only and it was done for a reason. On the level of 'affect' this is to 'dismiss' him from the sequence... And paradoxically, on a technical level, to create a flow, between Saras-Kumud. A certain faction (Saras-Kumud fans) will not even notice Pramad in that sequence... Pramad is noting and noticing but the average viewer who will have assumed either Saras or Kumud's pov for the sequence, will not even realise that. Also, with the promo out which airs on TV for the benefit of the TVT segment, the viewer will already know that Pramad is up to no good. In this day and age of media proliferation, it is impossible to remain an 'ignorant' viewer, I would submit... For those of us, who watch epi consciously, these things will strike a discordant note, while the majority will take it for granted.

Please don't undermine your efforts, smrth Bhai. I'm delighted that this has sparked with you 😃