Heh, I don't mind at all you being glad about my connecting with the vid. Grief is nearly inevitable, after all (I barely dare contemplate the grimness of a life without things worth grieving!), and so I understand that as being happy that you could provide something that spoke to it. That is a thing very much worth being pleased about, in my opinion. Grief is inevitable; comfort is not.
I think I'm finally getting to the point where I have watched this enough times that I can start to see and understand how you did the thing. Like how the first time you emphasize the cello-heartbeat with a jump-cut is with the newspaper headline: something so painful that it can hardly be looked at head-on, that you're having John's mind literally skip in an attempt to avoid it. And then you cut from that directly to John at his therapist, trying to shake away a thought he doesn't want to look at. And you keep doing that, interposing these grim just-keeping-on-keeping-on clips with moments of startling pain (Sherlock looking directly at the webcam), and then following up with the immediate need to retreat from them.
And that bridge. The way you use in-shot motion and the show's camera-work (especially the revolve-o-cam!) to build a hyper-real, hyper-immediate sequence of uncontrolled memories... (You've sped up some of those shots, haven't you? Some of those shots were sped up in the show, but some of that, that's you, isn't it? Yes? No?) And not only all of that careening camera-work and in-shot motion, but so much of it is two-shots, such a stark contrast, motion and content, to post-fall John. But it's really how beautifully you twin the music with the video that makes the bridge work so nicely. 2:08 through 2:14, violin-pluck through the fence bars, is particularly mmf.
Ahem. I mean to say: it's a beautiful piece of work. ;-)
no subject
I think I'm finally getting to the point where I have watched this enough times that I can start to see and understand how you did the thing. Like how the first time you emphasize the cello-heartbeat with a jump-cut is with the newspaper headline: something so painful that it can hardly be looked at head-on, that you're having John's mind literally skip in an attempt to avoid it. And then you cut from that directly to John at his therapist, trying to shake away a thought he doesn't want to look at. And you keep doing that, interposing these grim just-keeping-on-keeping-on clips with moments of startling pain (Sherlock looking directly at the webcam), and then following up with the immediate need to retreat from them.
And that bridge. The way you use in-shot motion and the show's camera-work (especially the revolve-o-cam!) to build a hyper-real, hyper-immediate sequence of uncontrolled memories... (You've sped up some of those shots, haven't you? Some of those shots were sped up in the show, but some of that, that's you, isn't it? Yes? No?) And not only all of that careening camera-work and in-shot motion, but so much of it is two-shots, such a stark contrast, motion and content, to post-fall John. But it's really how beautifully you twin the music with the video that makes the bridge work so nicely. 2:08 through 2:14, violin-pluck through the fence bars, is particularly mmf.
Ahem. I mean to say: it's a beautiful piece of work. ;-)