Tera ਤੇਰਾ

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

4:2916:9, 4K9 parts

Hi Narin, here is the board again with your notes applied.

Real footage only, and the ending is now in the mountains under the night sky. Every shot that changed is 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

What changed after your notes

The house: no table setting. He is in his house with his wealth, and the news reaches him there.
The bird lifts off properly, up into the sky.
Chorus 1: the two gatherings are out, fewer shots held longer, lamps in slow motion, prayer flags added.
The two window lines are one single shot on the balcony.
More woods: his hand in the ferns, sitting in meditation, a new last shot.
A new bow, and him in a mountain lake at sunset, in silhouette.
From verse 3 on, everything is new: the mountains, the stars, the dawn.
He is clothed in every shot. The ocean and the underwater shot are gone.

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

“A sophisticated person showing his wealth in a house setting only.”

No table setting any more. He is in his house with his wealth around him. The news now reaches him in his own study. The bird lifts off properly, up into the sky.

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

0:18New
In his chair, his suit, his cuffs

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
The bird drops to his table for a scrap

0:36
It is driven off
No real clip of a hand driving it away exists. The bird startles and flies off

0:46On this lineNew
Taahi duniya vich main dukh sehnda
That is why I suffer in this world
The news, on the first beat of the line. His face changes, in his own house above the sea

0:57New
Up into the open sky, straight into the pre-chorus

Your notes on part 2

Out into the open

Pre-chorus 1 · from 0:59

“Tann, mann, tunn: here, seen from the air, they belong to the world rather than to any person.”

Unchanged. Long holds, in the order of the words, never cut on the words.

0:59
Tann vi tera
The body is Yours
Tann: rock and ridge, the body of the earth

1:08
Mann vi tera
The mind is Yours
Mann: sky and cloud

1:17
Tun vi tera
Even You are Yours
Tunn: river and forest, owned by no one

Your notes on part 3

Reverence

Chorus 1 · from 1:27

“Give each shot more time slot. This chorus is about the mountain.”

The two gatherings are out. Five shots instead of eight, each held about three seconds. The lamps run in slow motion. Prayer flags on the mountain are in.

1:27
The sun breaking over the mountains

1:30
Rows of lamps being lit, in slow motion

1:33
Tera tera tera tera
Yours, Yours, Yours, Yours
Folded hands against the light

1:36New
Prayer flags in the wind, under the snow peaks

1:39New
A prayer bell at a temple in the Himalayas
A bell with mountains behind it: not found. This is the closest real one

Your notes on part 4

The awakening

Verse 2 · from 1:42

“Just use a little of him walking and more of the gazing shots. Grain is fine instead of bread.”

The garden: a little walking, mostly him gazing. The same bird eats grain from his hand. Then one single shot for both window lines, him on the balcony as the day goes down.

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

2:03On this line
Raat langhni hai, ghar jaana hai savera
The night has to pass; at dawn I must go home
On the balcony over the city, sunset

2:15On this line
Chhadna ae duniya, ghar baar basera
The world must be left behind
The same shot, unbroken, through this line too

Your notes on part 5

Walking with nothing

Pre-chorus 2 · from 2:29

“You might need more videos, walking in the woods, touch the plants, more sitting meditating.”

Five shots now instead of three. Bare feet, his hand through the ferns, his eyes closing, sitting still in the forest. For Tun vi tera he looks back at the city one last time, in silhouette.

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

2:34New
His hand brushes the ferns as he walks

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

2:43New
Sitting in the forest, meditating

2:48New
Tun vi tera
Even You are Yours
Tunn: in silhouette, he looks back at the city one last time, then walks on

Your notes on part 6

Reverence to the world

Chorus 2 · from 2:55

“Maybe add a video where the man stands near a lake with camera rotation around him, surrounded by mountains on all sides.”

A new bow, fully clothed. Then him in a mountain lake at sunset, in silhouette, mountains on every side. Then a small figure in the mountains, held long.

2:55New
He bows his head, hands together, to the sky

3:00New
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.

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

3:16New
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

3:19New
Already in place as the sun goes down

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

3:27On this lineNew
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

“Instead of the ocean we can stay with the mountains, with night skies with stars.”

His hands stay up through every 'kya mera'. Then he walks on up the ridge into the last light and is gone. Night and stars over the mountains, held long. Dawn. Then we rise, like the opening.

3:36New
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 lineNew
Tann vi tera
The body is Yours
He walks on up the ridge into the last light, like someone walking home

4:05New
Night. The stars over the mountains, held long

4:15New
Sab Tera
All is Yours
Dawn on the same mountains, empty and calm

4:22New
We rise over the mountains, like the first shot. Then black, then the title

Your notes on part 9

Five things I want to be straight about

The bird. I kept it for its two meetings and its lift-off, because real clips exist for all three and it is the same kind of bird, a grey pigeon. It is out of the ending. If you would still rather have no bird at all, tell me and I will take it out.
0:36, the hand. No real clip shows a hand driving the bird away. It startles and flies off.
1:39, the bell. I could not find a temple bell with mountains behind it. This one is a real prayer bell at a temple in the Himalayas.
3:16, the fallen plant. Nothing real exists, so his climb carries that line.
His look. As you asked: more silhouette. The red jacket shots are gone. Wherever he is seen he is dark, from behind or in silhouette. The two places where a face shows, the news and the forest, are bearded, dark-haired men who look alike.

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