#technical aspects

Hello dear Rdx,

Yeah that was heartbreaking yaar. But I've decided to refocus and not feel too bad. I'll make sure to set up a way for everyone to see the vms again - and as bachpan ka yaar rights you'll have access ;) Thank you for always giving me love.

I know I sent them a lengthy mail but of course I didn't receive any reply.

Omg you're so kind and sweet! I promise every now and then if I come across anything in IPK I will definitely make a post on it.

Last I saw was this one:

(click the image to see it closer)

So that is a type of Boom Mike used to capture the audio recorded during filming. According to Google: A boom mic has a highly directional polar pattern and is positioned at the end of a boom pole. These mics are staples in film and video. They are highly directional (pick up sound where they point to and reject off-axis sounds). Boom mics are often held by an operator, making them movable during a performance.

So multiple kinds of audio are captured while recording - the actors have a personal small mike fitted in their clothes, a boom mike like the one above to capture their dialogues as well as background noise (such as keep the fork on the table, pulling a chair and so on).

So in the shot above, the boom mike accidentally came into the shot that was missed by both the editor and DOP. It was fun spotting a mike in the scene. You'd be surprised how small the camera view is and how close boom mikes are to the actors or scene.

Also those who operate boom mikes are called boom operators :) Usually they wear headphones so they can listen and understand if the audio is sound or not.

Love,

Hello Anon!

Thank you for showing me so much of love!

Of course I did notice those :) Usually the IPK tech team is very good at making sure that the cameraman, equipments and lighting aren't visible however Barun's eyes (especially when he wears sunglasses) and when Mami wears her sunglasses - you can see what's on the opposite end.

You can especially see the whole set through Barun's sunglasses in the episode of the bandaid engagement!

(click the picture above to see details)

Camera actually captures a very small bit of what we usually see. It's all about lens, it's focal length, depth and field.

For mirror shots the camera needs to be just at an angle where it's not visible in the shot - it might be visible in the mirror generally - but as long as it's not visible in the shot.

So usually what happens is the director, assistant directors, DOP (director of photography) and/or their assistants check the shot first. Maybe they have someone stand in for Sanaya and Barun while the pair rehearse their dialogues in the vanity van.

So there's a process in how scenes are set up:

1) The director and DOP 'frame' the shot. That is they know that ok there's a mirror moment and we need our actors standing here. They get two people - roughly the actors height in the frame and set the lighting and position of the camera. They set the focal length of the lens as to how close they want the shot - the closer to the actor's face, the more intimate or emotionally charged a scene is.

2) Then they make changes to the camera angle and position based on how much is visible on the mirror. You'd be surprised how little is there in a camera shot and how much is done to make the perfect shot!

3) Then they bring in the actors and make adjustments based on the actor's heights and light reflecting on their faces. The actors are given cues to stand in specific spots - Barun often lowers his height in closeups so he and Sanaya appear in the same eyeline.

And in TV sometimes we see a trade off. Is it necessary to change the whole setup to make sure no one is seen in a reflection that lasts for 2 seconds on screen? Setting up a scene is time consuming so sometimes they are ok with sunglass reflections later in the show because they need to hurry with the scene which is otherwise shot perfectly.

In the pilot episode you don't see a single reflection on ASR's sunglasses because I assume they had more time to shoot it.

For mirrors you might be interested in reading this. Also, TV is filmed little differently than movies. People are really pressed for time in television.

Take care,

Links to sources:Examination of the Art-Form of Comics

Comics: How we understand the graphic novel and comic is that it must be viewed as a whole medium unto itself. In other words, the text is as important as the visual accompanying text.

What are Comics Capable of?

Comics are capable of eliciting a deliberate response by the audience, through the combined use of aesthetics and languages. Images are conveyed sequentially to the viewer (intended audience) to produce an intended response by the author.

How do Comics Work?

Comics work by stimulating our visual sensibility through images accompanied by writing. The best way to describe this process is that pictures and images are received information. You really do not need to be educated to understand an image. The message is found in the visual instantaneously. Writing on the other hand, that accompanies the visuals in comics is considered perceived information. It takes time to digest, understand and formulate opinions on written text. There is a process of understanding at play, from the abstraction of letters, to language, to comprehension. The understanding gained from reading text and language is therefore not as immediate as the visual image.

How do we Define Comics and their Basic Elements?

We define comics as not one specific object, but as a whole medium. Comics therefore are the juxtaposition of sequential images with written text in which are produced deliberately to convey an aesthetic response to the viewer.

The invention of printing pushed comics into the forefront of the media because it brought art, dialogue, and writing to the public forum. While the comic medium can have many repercussions, it is generally agreed that it is a text and pectoral medium that occurs together, and must be a series of sequential images for it to be considered a comic. Comics are reinvented constantly, and will forever be a changing, morphing art form that obscures one true definition.

Closure: What Happens Between the Panels?

Closure happens in comics several ways, as it is a transitional craft using visuals and narrative to provide meaning and substance to an idea, story, or mood an author is trying to convey to their audience. Blinking is a style of closure that is moment-to-moment. Minor ideas in a greater topic need smaller transitions.  Action-to-action is a style of closure reserved for a single subject that progresses through transitions. Subject-to-subject is the form of closure that is used in Bitter Medicine: A Graphic Memoir of Mental Illness the most consistently. This manner of closure involves staying within a scene or idea in which the reader’s involvement is necessary to bring meaning to the transition. Scene-to-scene is a transition model in the comic craft, used to navigate the reader through time and distance. Aspect-to-aspect is a type of transition that transports the reader with a “wandering eye” through different relationships of the meaningfulness of a place, idea or mood.

Links to sources: