SOUND AND MUSIC

     SOUND AND MUSIC

SOUND HAS THE POWER OF STORYTELLING WITHOUT USING VISUALS.

A. BHASKAR RAO INTRODUCED US TO A COMPLETELY DIFFRENT WORLDOF SOUND AND TAUGHT US HOW DIFFRENT TYPES OF SOUND AS PER THE NEED OF THE SITUATION IS CREATED AND AFTER RECORDING HOW TO COMBINE DIFFRENT SOUND AS A WHOLE  TO MAKE A SOUND. HE ALSO MADE US FAMILIAR TO SOME OF THE BASIC RECODERS AND MICS.

FIRST FEW DAYS WE USED TO SEE DIFFRENT DIFFRENT TYPES OF FILMS WITH DIFFRENT TYPES OF SOUND FOR UNDERSTANDING SOUND. SOME FILMS HAD SOUUND RECORED ON SET WHIE SHOOTING AND SOME IN WHICH SOUND WAS ADDED AFTER SHOOTING. AFTER UNDERSTANDING THE BASICS WE WERE GIVEN OUR ASSINGMENT IN WHICH WE HAD TO TELL A STORY USING SOUND THAT IS WITHOUT USING VISUALS.

WE WERE DIVIDED INTO GROUPS. MY GROUP (AVANJI SUVARNA AND ME) COLLECTIVELY CAME UP WITH THIS IDEA OF A YOUNG BRIDE WHO'S WEDDING IS TOMMOROW IS HAVING A SECOND THOUGHT OF MARRYING AND HAS BENIFIT OF DOUBT AS  SHE STILL HAS A DAY BEFORE SHE GETS MARRIED. THE  TITLE OF OUR STORY IS "BENEFIT OF THE DOUBT". THE STORY STARTS WHITH RADIO PLAYING MUSIC FOLLOWED BY A VAS BREAKING. THE BRIDE AS SHE HEARS THE VASE BREAKING GOES OUT OF THE  ROOM WHERE WE HAVE GIVEN THE SOUND OF TABLA IN BACKGROUND FOLLOWED BY A TYPICAL AUNT SCOLDING THE CHILD AND AS THIS WHOLE SENARIO HAPPENS SHE IS CALLED BY FLOWERMAN OUTSIDE THE ROOM. AS NOW SHE GOES OUTSIDE THE NOISE OF DHOLAK BECOMS MUCH SOFTER BECUSE IT IS BEING PLAYED IN THE ROOM INSIDE. NOW AS  SOON AS THE FLOWERMAN ASKS  ABOUT THE PROBLEM ARRIVED THE BRIDE BURTS OUT THE THINGS GOING ON IN HER MIND AND ENDS UP ASKING IF SHE SHOULD GET MARRIED OR NOT? TO WHICH THE FLOWERGUY GIVES A VERY SARCASTIC ANSWER AND THE SOUND ENDS WITH THE SOUND OF SHEHNAI.