Humans sense cinema through two feelings; Visual aid and Sound. However, surprisingly 80%
of cinema is just sound. Without sound, there is no emotion in the product, no matter how great
the flow of events and the acting is. Sound not only acts as a thread to move on from one scene
to another but also provides emotions to the dialogues and acting on screen.Thus, there are
various forms of sounds that are used -
Music does not need any language. Thus, to express any sort of emotion; happiness, grief, rage,
longingness or drama, all we need is a tone with no words, and the work is done. This is what a
BGM (Background music) is. These are placed in the background of the dialogues to bring out
the intensity within the scene. In mythological shows, there is an immense need of BGM that
also goes along with its theme i.e., Hinduism. Therefore, use of classical instruments, Taals and
Murkhis are required to set a theme of ancient times without the use of techno sounds that plays
in the background. Now, BGM also depends on various factors on screen such as Intensity,
acting void, emotional track etc. However, attention to small details is what completes a set of
Audio; and SFX and foley are the two sectors that fulfil this need.
SFX are the sound effects that are used to justify any action in a particular scene. Mythological
shows/films that deal with so much of environment, this is a huge void to fill. For things that
can’t be recorded on amplified level camera, for e.g., environmental sounds like wind, water, fire
etc., Inter-celestial sounds, power show sounds, battle sequences etc., in each small detail that
requires a certain ambience, SFX is done. These are basically the effects that are already loaded
or present in the database and are used for filmmaker’s consumption to create an illusion that
might be impractical in a live-action shot.
Foley further is driven from SFX, but is hugely broad in application. Foley is a technique of
creating sounds for smaller details that bring the authenticity and effect in a scene. It is a
dedicated sector in which, there is a separate foley studio where artists create sounds for
everyday events, like walking, slapping, keeping things etc. There are desired techniques,
devices and sequences through which the foley artists create sounds resonating to the actions on
screen in front of foley fit mics with zero presence of any ambience.
Dubbing is majorly done when Sync-sound has not been used in the shoot; i.e., final dialogues
are not recorded directly while acting.Dubbing not only helps in improving mistakes even if
sync sound was used, but also paves a way to the shows towards PAN India release. Shows
where the original language is different than the recipient’s mother tongue and the show/movie
has to be distributed across India, dubbing comes in as saver. Recently this area has broadened a
lot, and shows are being dubbed in Bengali, Marathi, Telugu etc. where voiceover artists
translate the dialogues in the desired language and match the flow with that in screen. Dubbing
also helps if the actor is not present due to any factor, for e.g., Deceased, commitments etc.
Mythological/ historical shows created by Sagar World depend highly on educating audience
alongside entertainment. And in the screenplay, there are such certain sections that need to
transcribed swiftly and effectively in audience’s mind, as the run time is low, and much has to be
said in such short time. So, what’s better than songs! These are not just any regular songs but
melodies that are conjoined with Ancient proses, Poems, Holy Shlokas, Modern Aartis, Dohas
etc. With the use of classical instruments, monumental composition and relevant music, certain
songs as well as complete albums are developed that are not only useful in screenplay but also
act as promotional pieces.
When a complete rendered video sequence plate is layered with extracted final audio file, a final
product is developed, known as the show episode/ film that is ready to be promoted and finally
showcased on screen.