Best Sound Mixing
Sound Mixing is
basically the practice in the post production of a film, where in the
collective types of sounds from the score, to dialogues, music, silence, foley
sounds and effects to be merged together through the manipulation of volume,
source signal, frequency and panoramic position in order to achieve a flawless
and smoothly flowing collective sound to the final picture.
While Sound is
probably my weakest side as a filmmaker, I'm trying level best to work it out
and thus the introduction of this new award with a full slate of nominees. If I
do make a mistake however, do correct me or let it slide.
Anyways in this case
there wont be any honourable mentions, instead let's get it on...
Justin Jose for
Kapoor and Sons
With an engaging and
emotionally strong score, the mixing by Jose takes precedent by utilising the
effects and natural mood of the setting well. There is a clear distinction made
between the diegetic sounds that pervade the very dysfunctional family and then
morph smoothly into the operatic score.
The mix is elegantly
done, flowing through the film as the sounds of nature and all transform into
the pains and sadness as well as the swell of hope embodied by the score.
The highlight of
this is the first family fight, where the constant running leak is an
interference against the family's breaking down against each other, every sound
meticulously clashing until the action hits crescendo and the sounds are
dissipated by the score. A mastery of composition.
Debobrat
Chhalia, Prabhal Mansingh Pradhan and Gunjan Augustine for Neerja
Neerja's
confined space necessitates an integral use of sound and it is employed with
dexterity. As all goes to hell in the stand alone plane, there is moments of
chaos amongst the passengers, fiery dialogues flying about between the
terrorists, hostages and negotiators while a spat of emotional silences stir
old pains in Neerja Bhanot as the stirring music pushes her to discover her own
heroism.
The mix
of this is absolutely flawless as everything comes together, starting slow and
moving with exceptional thrills through the film until all the sounds are
finally focused into an absolute silence as Neerja hits martyrdom.
There's a
distinctive flow of a graph to the sound as all the chaos reigns at the
precipice of the takeover then hits a moment of silence towards its bittersweet
end. The final scenes are all primarily focused on dialogue, a smart move in
retaining silence around as the speech by Rama Bhanot hits hard until finally
the hopeful song 'Jeete Hain Chal' kicks in and emotionally stirring us into
applause for the young woman that gave her life for the right cause.
Sanil PK
for Phobia
As is
with any horror, the sound in Phobia is very important especially when
considering the psychological and metaphysical plane with which the film plays.
The
beautiful use of silences is mixed into the film as a reference for the
haunting scenes of future premonitions Mehek the lead protagonist plays in.
These silences are filled with the smart incidental sounds with each sound
whether of a wall knocking, a laughter or a doorbell all crafted and brought
together with a meticulous understanding of the response required.
This is a
mix that plays wonders on the viewers senses always creating a great sense of
dread and haunting pause as Mehek deduces whether all is in her mind or around
her, the ambiguous mix merely haunts and appropriately leaves no answer to be
found the very foundation of unraveling like its mind blowing twist.
Sai
Nathan for Raman Raghav 2.0
There's
electricity in the air with Raman Raghav 2.0 and an absolute shout out for that
must go to the motion of how the score, silence and sounds come together.
A prime
example of this is the tense chapter on Ramanna and his sisters questionable
relationship. It's a ticking time bomb of the scene made exemplary by how the
sound is utilized in slowing down time and each point is critically played off,
as one point the cooking goes on, in the other the sense of dread exemplified
in the score and wonderfully formed with a complete fearsome silence crafted
around a dreadful Ramanna.
Raman
Raghav's absolute highlight is how the two lines of sound, the foreboding
silences meet the chaotic mania surrounding Ramanna and Raghavan respectively
are brought together in a narrative highlight as the two titular characters
realize they are one in the same at least mentally and emotionally.
Anil
Radhakrishnan and Justin Jose for Udta Punjab
Jose gets
a second nomination for a sound mix that works wonders in filling gaps the
narrative falters at.
From a
screenplay standpoint the multiple track storyline falls due to the
contrivances especially in bringing its leads together, most importantly the
undying love that saves Tommy Singh and 'Mary Jane'.
Listening
closely to how each sound and score hits across the board, the confluence of
the mix hints at an ethereal connection between the two characters constantly
linking them together on a mental plane, this use of sound puts it into the
mind of the viewer that the one magical moment of retribution for the two as
their fates intertwine allows the idea of belief that they can be saved from
the world of addiction.
In its
completion, Udta Punjab captures flavor of Punjab within its sound as well as
uncovering and unrelenting darkness.
And the
Winner is...
Sanil PK
for Phobia!!!
An absolutely well deserved win, we shall see if the other half of the equation matches up.
Up Next: The other new award...which film walks away with the Best Sound Editing award!
'Nuff Said,
Aneesh Raikundalia
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