#BehindTheLens: “People think sound design is the same as composing music, but they are quite different,” says Dhiman Karmakar

In this interview, the Amar Singh Chamkila's sound designer, Dhiman Karmakar, discusses the challenges of the film, explains sound designing, the BAFTA opportunity and much more! 

Amar Singh Chamkila can arguably be regarded as one of the most experimental biopics in recent times, capturing the controversial life of a musician whose influence resonates across generations. The film not only brings Chamkila’s impact to life, but also highlights the raw energy of his music, which continues to echo long after his untimely death. While it's agreeable that this is a story only Imtiaz Ali could truly do justice to, much of its immersive sound quality comes from the work of Dhiman Karmakar, the sound designer behind the film. And no it doesn't mean that Karmakar created the music of the film but he made it possible for audiences to experience Diljit Dosanjh’s voice and the authentic reactions of the crowd as if they were witnessing one of Chamkila’s iconic live performances. His expertise in capturing the atmosphere of live shows and creating an auditory experience transports viewers back in time. This sound design makes us feel as if we’re part of Chamkila’s era! But achieving this level of auditory realism might not have been easy, So how did Karmakar do this and moreover how challenging was this, especially during the shoots? 

Apart from the film, Dhiman Karmakar also delves deep into the importance of sound in a film for a cinematic experience, his journey, process adnd much more! This interview was in collaboration with the BAFTA Breakthrough India 2024, a programme initiated by the British Academy of Film and Television Arts (BAFTA) designed to select and uplift a few Indian talents who will be provided with an opportunity to connect with and learn from the best British and Indian creatives, as well as share their expertise with peers from around the world. Here, Karmakar also elaborates on what the opportunity means to him and for India! 

Your filmography includes an exciting line-up of projects; how did you take to sound designing in the first place?

I’m a physics graduate and also a tabla player. So I live near a film school and while I was staying in Kolkata after finishing my studies, one day, I got a call from someone there who were looking for a tabla player, and it turned out the meeting was inside the institute. As soon as I stepped into the school, I was fascinated by the place and the idea of people learning filmmaking. That sparked an interest in me. I randomly decided to sit for the film school entrance exam, and I got in! It was a completely unexpected twist in my life that opened up a whole new journey for me, and that’s how it all began. 

Can you walk us through the sound designing process for a film? Are there any misconceptions related to it?

I begin by requesting the script and reading through it carefully, marking any areas where I have questions or uncertainties. Once I’ve identified these, I usually discuss them with the director to gain clarity. My first question for any director is always: “How do you want your film to sound?” This is crucial in setting the tone for the project. For example, I ask whether the sound should be louder or quieter, if the focus should be on ambient noise, or if dialogue or music will take priority. These discussions help establish the overall auditory tone of the film. If I’m working with a first-time director, I tend to ask more questions to fully understand their vision and background. This helps me get a better sense of their style and what they want to achieve. Ultimately, the director is the captain of the ship, and my role is to follow their guidance to craft the soundscape that aligns with their vision for the film. 

Also Read: Chamkila review: The Elvis of Punjab gets his much-deserved film just like Elvis!

Sound design is a craft that filmmakers understand well, but it’s something that many people outside of the industry aren’t fully aware of. For example, even my school and college friends, as well as my relatives, often ask me if I’m responsible for the music in a film, assuming I’ve composed the songs. There’s a common misconception where people think sound design is the same as composing music, but they are quite different. While music is more widely recognized, sound design involves creating the overall auditory environment of the film, including ambient sounds, dialogue balancing, and effects, which many don’t realize is separate from music composition. This misunderstanding—that sound design is just about music or songs—is one of the biggest misconceptions I’ve encountered. 

Amar Singh Chamkila is regarded as one of the most experimental biopics there are. How was your experience of designing sound for this film? Was were some things you kept in mind for this specific project?

When Imtiaz Ali first approached me about working on Amar Singh Chamkila, he expressed that he wanted to capture everything live, especially the performances on stage by the singers. This was completely new territory for me, as I had never worked on a project like this before. I had done some live folk song recordings for a documentary but this particular approach would be a fresh challenge. I had read about such methods being used in foreign productions, but I wasn’t sure if it had been done in India on this scale. Over time, we had multiple discussions, and I prepared myself for the task. Once Diljit and Parineeti, both exceptional singers, were cast, and came on board we moved further ahead forward. But there was even a bigger challenge to tackle when we shot in remote villages in Punjab, with crowds of 1,000 to 2,000 people present during the live performances. Capturing authentic sound in that environment, while ensuring the crowd participation was tough but my crew was incredibly helpful in managing this, ensuring everyone was properly mic’d, and recording high-quality original sound.

I was a bit stressed and scared as Imtiaz Ali’s vision was to recreate the live energy that existed when Amar Singh was performing in front of crowds, where the audience would react to his every word. This meant that even the sound recording had to be choreographed to capture the crowd’s live reactions in sync with the performances. For instance, when Diljit would sing as the character the crowd would react to him amidst singing. This choreography of sound was the main part of the film. Another challenge was mixing all of this together for the screen while maintaining the authenticity of the period, as the film is set in the 1970s and 80s. We had to reflect Amar Singh’s journey from humble beginnings to stardom, and that evolution had to be represented through sound design as well. So in many ways it was quite a challenging film but surely worth it where I learned and evolved as well. 

How important a role does sound play in a film?

If the sound in a film isn’t properly designed or mixed, it can significantly affect the viewing experience. For example, I remember back when cable TV first introduced multiple channels, viewers constantly had to adjust the volume with the remote because different programs had inconsistent loudness levels. Some shows would be too loud, while others were too soft or moderate, which disrupted the overall viewing experience. This issue occurred because the sound was delivered with varying loudness factors, making it difficult for audiences to enjoy the content without having to constantly adjust the volume. Proper sound design ensures consistency in audio levels, allowing the viewer to immerse in the film without distraction. In feature films, sound plays a crucial role as it reflects the world around us, enhancing the realism and impact of the story. When done right, sound is an essential element of filmmaking, mirroring society and drawing viewers into the cinematic experience.

What is the difference in designing sound for long-short formats and fiction and non-fiction?

The process of sound design remains largely the same across different formats, whether it’s a short film, feature film, or fiction. However, the technical aspects, such as mixing and final delivery, depend on the medium for which the project is intended. For instance, mixing for a theatrical release follows specific dynamics and specifications suited for the cinema experience, whereas for an OTT platform (like Netflix), the mixing has to align with the platform’s particular parameters and delivery standards. When a film is first released in theaters and later on an OTT platform, the mixing process is redone to fit the different audio specifications for each format. The aesthetic approach to sound design doesn’t change between formats, but the mixing and deliverable requirements vary between theater and OTT. For nonfiction projects, the technical workflow is similar to fiction, but the approach differs slightly. While fiction films often aim for a larger-than-life sound experience, nonfiction sound design tends to be more diegetic, focusing on capturing realistic sounds. Even nonfiction content on platforms like Netflix follows these same parameters, adjusting only for the platform’s specific technical requirements.

Out of everything you've worked on, which one has been your favourite or most memorable project? Why?

Recently, my work on Amar Singh Chamkila has been one of my most significant projects. It involved several firsts for me, particularly in recording live music on stage. This was a new experience where we captured the live music during the performances, which we later mixed in post-production. Working with my team, we incorporated that live sound into the final audio mix on screen, creating a seamless integration between the recorded music and the visual narrative. This film also presented a range of challenges due to its multiple layers. For instance, there were sections that used animation, and I had to carefully balance moments of silence with loud crowd noises. The sound design had to reflect the dynamic range of the story—from quieter, more intimate scenes to the energetic, music-filled moments. Each aspect required careful thought and consideration, especially with regard to managing loudness and creating an immersive experience for the audience.

What does this opportunity by BAFTA mean to you? Do you think it will bring about change?

I am very much looking forward to this opportunity. Honestly, it’s the first time I have applied for a program like this, and it’s exciting that I got through on my first attempt. What I particularly appreciate about it is the access it gives me to people I’ve always wanted to connect with—individuals I’ve been eager to share my creative ideas with and ask questions that are important to me. It’s a unique opportunity because without this program, reaching out to these people would have been next to impossible. Now, with this program, I can engage with and learn from those whose insights I’ve always wanted to explore.

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