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Arun Nambiar is a professional sound designer in north India. He is best recognized for his works in the sound department for the movies Raanjhanaa, Shubh Mangal Saavdhan, Neerali, Bhram: An Illusion and many more. Arun Nambiar has worked in many films in the Hindi film industry. Arun Nambiar has worked as an assistant sound recordist, sound mixer, re-recording mixer, sound designer, sound editor and a sound recordist for films, TV movies, short films, and advertisements. Arun Nambiar first entered the entertainment industry in the year 1993. He started his career in the music field as an assistant sound recordist. He was the associate sound recordist of the Hindi movie Rudaali which was directed by film director Kalpana Lajmi and starring actors Rakhee Gulzar, Dimple Kapadia, and Raj Babbar and many more in the movie cast.
This movie Rudaali got released in the big screens in the year 1993. Arun Nambiar made his debut as a sound mixer for the TV drama movie Jayate which was directed by Hansal Mehta, and it had actors Menekka Arora, Arun Bali, Abhay Bhargav and some more. This movie got released in the theatres in the year 1997. Arun Nambiar then became a re-recording mixer for a TV series called C. I. D. which hit the theatres in the year 1998. He worked on about four episodes in this serial as a re-recording mixer. Arun Nambiar later got a chance to become a sound designer in the year 2000. Since then he had been a sound designer of more than 40 projects in Hindi films and television. His debut movie as a sound designer is Dil Pe Mat Le Yaar in which Hansal Mehta was the film director and actors Manoj Bajpayee, Tabu, Saurabh Shukla and other played the characters.
This movie was released in the big screens in the year 2000. The other initial movies of Arun Nambiar as a sound designer are Chhal which got released in the year 2002, Road which was also released in the same year. He was then given the post of sound editor for the Bollywood movie Junoon in the year 2002. This was his first project as a sound editor. Arun Nambiar has been active in the field continuously since he first started. He has also worked as a re-recording mixer for documentaries. One such documentary is Khoob Asti Afghanistan. His latest movies as a sound designer which released in the year 2018 are Dilphire, Mitron, and Happy Phir Bhag Jayegi.
Rakesh Ranjan has operated on nearly 170 published films so far. He started as a production sound blender, and progressively toiled his way up to being the sound artist and director of the audiographer. Not until he enlisted in the Film Institute (Pune) did he become sensitive to how music for movies gets recorded. And the main thing that fascinated him to join the FTII was, he was more absorbed in the technology, the microelectronics of it, rather than the music as such. Since childhood, electronic gadgets used to fascinate him.The real attraction to sound was music, film songs. It would perhaps be a sound he heard when he was traveling to his village, Chakwai, now in Bihar, as a youth. The community youngsters would go into the sugarcane crops to steal sugarcane.
Their uncles, who possessed the sugarcane crops, would come and see the children have inserted their fields from the ‘khaskhaskhaskhaskhas’ sound the breeze carried to the sets of the movie, the noise of the kids scrubbing past the additional 7 feet tall sugarcane plants. Yes, idyllically, what they need to also write along with the script is the soundscape of the flick. And if the screenplay does no interference it in some angle of the scenario, then at least give it to the writers verbally or as a distinct file; explanations on what kind of noises they ‘hear’ in some note worthy scenes, how they translate some shots in sound. Jewelry crackles when the artists move about and that too generate turbulences in music. See, the documenting mic forgives none, it’s the most honest gear and captures the whole lot that strikes it, it is not partial, and it is not discriminating.
The above are the few components that we look out for in particular before major shooting begins so that the creator and manager have time on hand to apply any proposals. He considers the music qualities as melodies because the tonal superiority of all the sounds plays a very vital part in the story, and this differs from topic to topic. He directs sound quality by working on the tone quality of the actor’s speech in his or her footfalls and other dissimilar sounds. For me, this acoustic space is somewhat very near to the tale, because it unknowingly affects the insight of the spectators and lures their attentiveness to what the oddity is feeling, listening and responding. It is very problematic to explain quality, especially sound touches. The texture is a sensation, which he gets when he is paying attention to something, be it the conversation, melody, or the results, or even muteness.
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