Tera ਤੇਰਾ

Every key moment, with the real clip, on its line

Version 5, updated 30 Sep4:2916:9, 4K9 parts

Hi Narin, this is the board with your two last notes applied.

The city is out of verse 2, and the film now ends on him under the stars. The three shots that changed are marked “New”. The lines you marked still have the gold frame.

The pictures are library previews, so some carry a watermark. The film itself will be 4K.

Tap any picture to watch that clip moving on the library’s own page.

Your lines, picture on the word

0:33 Sab mera mera mann ae kehnda
0:46 Taahi duniya vich main dukh sehnda
1:53 Jadon jagiya duniya vekh main hasda
2:03 Raat langhni hai, ghar jaana hai savera
2:15 Chhadna ae duniya, ghar baar basera
3:21 Ral-mil kariye dilon pukaar
3:27 Bakhsh deyo mere daataar
3:55 Tann vi tera
4:15 Sab Tera

What changed after your last notes

Verse 2: the balcony over the city is out. For both lines he stands in silhouette and watches the sun go down.
The ending: the last picture of the film is now him under the stars, looking up, on “Sab Tera”. The shot with the town lights is out.
Everything else is as you saw it in version 4: no bird, the new man for the news, the smile, the new bow.

Opening, flying in

Intro · from 0:00

“This seems fine.”

Unchanged. One long, slow flight with no cuts. The last shot of the film mirrors this one, now over the mountains.

0:08
Down to the house by the water, and its tall tree

Your notes on part 1

The house of mine

Verse 1 · from 0:12

“Please remove all the bird shots and replace them. Find a more suitable man.”

The bird is out. On 'Sab mera' he stands at the glass of his house with everything he owns below him. The news now lands on a bearded, dark-haired man, the same look as the man in the woods later: his hand goes to his head on the first beat of the line. The verse ends on him in silhouette, alone in the house.

0:12
Haumain meri na milan denda
My ego does not let me meet You
He walks through his house

0:24
Daat teriyan naal judiya rehnda
I stay attached to Your gifts
His watch

0:33On this line
Sab mera mera mann ae kehnda
My mind keeps saying: it's all mine
He stands at the glass of his house, in silhouette. Everything below him is his

0:39
The same shot pulls back: the whole house around him, and he looks out over all of it

0:46On this line
Taahi duniya vich main dukh sehnda
That is why I suffer in this world
The news, on the first beat of the line. His hand goes to his head

Your notes on part 2

Out into the open

Pre-chorus 1 · from 1:00

“Remove the coast in gold clip in pre-chorus 1 and add some other mountain scenery only.”

The coast is out. Mountains in the last gold light are in. Long holds, in the order of the words, never cut on the words.

1:00
Tann vi tera
The body is Yours
Tann: rock and ridge, the body of the earth

1:05
Mann vi tera
The mind is Yours
Mann: sky and cloud

1:09
Tun vi tera
Even You are Yours
Tunn: river and forest, owned by no one

1:14
The mountains in the last gold light

Your notes on part 3

Reverence

Chorus 1 · from 1:18

“Select only 1 flag video, where the flag is wavering in the wind in slow motion. The incense video was nice also. Maybe some lamp close up to see the flames.”

One flag clip only, the flags waving in slow motion under the snow peaks. The bell is out, because it was really a second flag shot. The incense is back. A lamp close up is in, so you see the flame. Six shots, about four seconds each.

1:18
The sun breaking over the mountains

1:22
Rows of lamps being lit, in slow motion

1:26
One lamp, close up, as it is lit. You see the flame

1:30
Tera tera tera tera
Yours, Yours, Yours, Yours
Folded hands against the light

1:34
Prayer flags waving in the wind under the snow peaks, in slow motion

Your notes on part 4

The awakening

Verse 2 · from 1:42

“On the balcony looking over the city shot, maybe just keep it like sun setting, man standing and watching, silhouette. So we don't have to come to the city scene again.”

The city is out. For both lines he stands in silhouette under the evening sky and watches the day go down: first wide, then closer, the same man under the same sky. The smile on 'Jadon jagiya' stays.

1:42
Bahar andar sab vich vasda
Outside, inside, You dwell in everything
Morning in the garden, mostly him gazing

1:53On this line
Jadon jagiya duniya vekh main hasda
When I woke, I looked at the world and laughed
His eyes are closed. They open, he looks at the world and he smiles

2:03On this lineNew
Raat langhni hai, ghar jaana hai savera
The night has to pass; at dawn I must go home
He stands in silhouette under the burning evening sky and watches the day go

2:15On this lineNew
Chhadna ae duniya, ghar baar basera
The world must be left behind
The same man, the same sky, closer. He turns his head once, then stays

Your notes on part 5

Walking with nothing

Pre-chorus 2 · from 2:29

“Remove the last shot, since he is already in the mountains. Find something more related.”

The look back at the city is out. Bare feet, his hand through the ferns, his eyes closing, sitting still in the forest. For Tun vi tera he walks on into the light between the trees, in silhouette, with nothing in his hands.

2:29
Tann vi tera
The body is Yours
Tann: bare feet on the forest floor

2:34
His hand brushes the ferns as he walks

2:38
Mann vi tera
The mind is Yours
Mann: his eyes close, stillness

2:48
Tun vi tera
Even You are Yours
Tunn: in silhouette, he walks on into the light between the trees, with nothing in his hands

Your notes on part 6

Reverence to the world

Chorus 2 · from 2:51

“The bowing video, find something more dramatic and silhouette.”

A new bow, all in silhouette against the evening sky: he kneels with his hands folded, then bows all the way to the ground. Then him in the mountain lake at sunset, and the small figure in the mountains, held long.

2:51
He kneels, hands folded, in silhouette against the sky

2:56
The same shot: he bows all the way to the ground

3:01
In the mountain lake at sunset, in silhouette, mountains on every side

3:05
Held long: a small figure in the mountains, from above

Your notes on part 7

The true trade

Verse 3 · from 3:09

“Keep the ending night sky and mountains only.”

New setting: he climbs. By the time the line comes he is already standing above the clouds at sunset. His hands go up and stay up.

3:09
Aao kariye sachcha vaapaar
Come, let us do the true trade
He walks up into the mountains

3:16
Katiye aavan jaavan baar baar
Let us end this coming and going
Higher, above the clouds
Righting the fallen plant has no real clip, so his climb carries this line

3:19
Already in place as the sun goes down

3:21On this line
Ral-mil kariye dilon pukaar
Together, let us cry out from the heart
Both hands up, a call

3:27On this line
Bakhsh deyo mere daataar
Forgive me, my Giver
The same shot: hands still up, reaching into the last light

Your notes on part 8

The ending

Final chorus · from 3:36

“The last video of the song needs to be the most impactful. I like 'He stops under the stars and looks up' as the last scene, it gives the true sense of the last words of the song, sab tera.”

His hands stay up through every 'kya mera'. Then he walks on up the ridge into the last light, and on along it in the dark. The night sky opens over the mountains with shooting stars. The last picture of the film is him under the stars, looking up, on 'Sab Tera', held to the end. Then black, then the title.

3:36
Tera tera tera, kya mera
Yours, Yours, Yours. What is mine?
Between the three 'kya mera': the mountains above the clouds. Each time we return, his hands are still up

3:55On this line
Tann vi tera
The body is Yours
He walks on up the ridge into the last light, like someone walking home

4:03
Night falls. He walks on along the ridge, a small silhouette

4:09
The night sky over the mountains. Shooting stars cross it

4:15On this lineNew
Sab Tera
All is Yours
The last picture, held to the end: he stands under the stars and looks up. Then black, then the title

Your notes on part 9

Three things I want to be straight about

His look. A face shows in three places only: the news, the smile and the woods. All three are bearded, dark-haired men who look alike, but they are three different real men. One single actor for every scene does not exist in real footage. Everywhere else he is dark, from behind or in silhouette.
1:34, the flags. The flag clip you liked hardly moves, so in slow motion it would look like a photo. This one is by the same filmmaker in the same mountains, with the flags close and waving, and I run it in slow motion. If you still prefer the first one, tell me and I put it back.
3:16, the fallen plant. Nothing real exists, so his climb carries that line.

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