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Sound in Bollywood films was as soon as rarely recorded on place. As a result, the sound was normally designed (or re-produced) completely in the studio, with the actors reciting their lines as their photos look on-monitor in the studio in the approach recognized as &quot;looping in the audio&quot; or ADR—with the foley and sound effects extra later on. This produced several problems, considering that the sound in these films normally takes place a frame or two before or afterwards than the mouth actions or gestures. The actors had to act two times: after on-area, after in the studio—and the emotional amount on set is frequently quite hard to re-develop. Business Indian films, not just the Hindi-language range, are known for their lack of ambient audio, so there is a silence fundamental every thing as an alternative of the history audio and noises normally used in movies to generate aurally perceivable depth and setting.



The ubiquity of ADR in Bollywood cinema became commonplace in the early sixties with the arrival of the Arriflex 3 digicam, which required a blimp (include) to defend the seem of the camera, for which it was notorious, from on-location filming. Business Indian filmmakers, recognized for their velocity, by no means bothered to blimp the digicam, and its too much sounds needed that almost everything had to be re-designed in the studio. At some point, this grew to become the normal for Indian films.



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The craze was bucked in 2001, soon after a thirty-yr hiatus of synchronised seem, with the film Lagaan, in which producer-star Aamir Khan insisted that the seem be done on area. This opened up a heated discussion on the use and financial feasibility of on-area audio, and numerous Bollywood films have employed on-place seem because then.