National Film Award for Best Audiography

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National Film Award for Best Audiography
Type National
Category Indian Cinema
Instituted 1976
First awarded 1976
Last awarded 2014
Total awarded 49
Awarded by Directorate of Film Festivals
Cash award ₹50,000 (US$740)
Medal Rajat Kamal (Silver Lotus)
Previous name(s) Best Sound Recording (1976–1979)
First awardee(s) S. P. Ramanathan
Recent awardee(s)  • Mahaveer Sabbanwal
(Location sound recordist)
 • Anish John
(Sound designer)
 • Anirban Sengupta
& Dipankar Chaki
(Re-recordist of the final mixed track)

The National Film Award for Best Audiography is one of the National Film Awards presented annually by the Directorate of Film Festivals, the organisation set up by Ministry of Information and Broadcasting, India. It is one of several awards presented for feature films and awarded with Rajat Kamal (Silver Lotus).

The award was instituted in 1976, at 24th National Film Awards and awarded annually for films produced in the year across the country, in all Indian languages.

Since 57th National Film Awards award has been sub-categorized into Location sound recordist, Sound designer and Re-recordist of the final mixed track.

Winners

Awards legends
*
 Location Sound Recordist
*
 Sound Designer
*
 Re-recordist of the Final Mixed Track

Award includes 'Rajat Kamal' (Silver Lotus) and cash prize. Following are the award winners over the years:

List of award recipients, showing the year (award ceremony), film(s), language(s) and citation
Year Recipient(s) Film(s) Language(s) Citation
1976
(24th)		 S. P. Ramanathan[1] Bhakta Kannappa Telugu  –
1977
(25th)		 S. P. Ramanathan[2] Godhuli Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For recording great clarity and precision, creating a beautifully modulated tone poem of the various elements; of human speech, of atmospheric effects, of natural sound and vision which makes one live within the film; for superb technical quality which helps to enhance the meaning and impact of a thought-provoking film.
1978
(26th)		 Hitendra Ghosh[3] Junoon Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For clarity, fidelity and precision in recording music, speech and sound effects.
1979
(27th)		 No Award[4]
1980
(28th)		 S. P. Ramanathan[5] Nenjathai Killathe Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For a highly sensitive use of sound to capture perfectly the rhythm and mood of each sequence.
1981
(29th)		 P. Devdas[6] Elippathayam Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For a brilliantly mixed soundtrack and impressive use of silences to underline the dramatic moments of the film.
1982
(30th)		 Essabhai M. Suratwala[7] Namkeen Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For his skilful structuring of the sound track to create the atmosphere for the film.
1983
(31st)		 S. P. Ramanathan[8] Adi Shankaracharya Sanskrit <templatestyles src="Template:Hidden begin/styles.css"/>
For the deft handling of the sound track to blend with the film's mood.
1984
(32nd)		 P. Devdas[9] Mukhamukham Malayalam  –
1985
(33rd)		 Hitendra Ghosh[10] Ek Pal Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For his masterly use of the sound track in keeping with the atmosphere of the film.
1986
(34th)		  • Durga Mitra[11]
 • Jyoti Prasad Chatterjee		 Path Bhola Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For adding a new dimension to the film by a sensitive employment of sound.
1987
(35th)		  • P. Devadas[12]
 • T. Krishnanunni
 • N. Harikumar		 Anantaram Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For harnessing all the elements of sounds, music and silence to create a perfect complement to the visual design of the film.
1988
(36th)		 T. Krishnan Unni[13] Piravi Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For creatively helping to capture and sustain the delicate seasonal and emotional mood of the film.
1989
(37th)		 N. Harikumar[14] Mathilukal Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For perfection noticeable throughout the in creatively helping the director to capture the mood and sustain interest within the enclosed walls of a jail.
1990
(38th)		 N. Pandurangan[15] Anjali Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For aesthetically weaving the soundtrack in the most creative manner to enhance the visuals of the film.
1991
(39th)		  • Ajay Munjan[16]
 • M. M. Padmanabhan		 Rukmavati Ki Haveli Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For the quality and effectiveness of sound in contributing to the ambience of stark oppression that pervades the film.
1992
(40th)		 N. Pandurangan[17] Thevar Magan Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For his extremely creative recording and mixing of the sound track, giving the film an added dimension.
1993
(41st)		  • H. Sridhar[18]
 • K. M. Surya Narayan
 • (M/s Media Artiste Pvt. Ltd)		 Mahanadi Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For their capacity to the use of technique to contribute to the total effect of the film as an audio-visual gestalt.
1994
(42nd)		  • A. S. Laxmi Narayanan
 • V. S. Murthy[19]		 Kadhalan Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For combining numerous effects in multiple tracks and an often dazzling array of music, sound and dialogue with remarkable technical control.
1995
(43rd)		 Deepan Chatterji[20] Kalapani Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For the meticulous use of sound, creating the unusual aura of Cellular Jail of Andaman.
1995
(43rd)		 Deepan Chatterji[20] Halo Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For the unique mixing of incidental and effect sound.
1996
(44th)		 Krishnan Unni[21] Desadanam Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For excellent use and blending of ambient sound with superb effects, appropriate to the spirit depicted in the film.
1997
(45th)		 Sampath[22] Ennu Swantham Janakikutty Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For using silence creatively to enhance a subject that deals with the isolation of a mind trapped in fantasy.
1998
(46th)		 H. Sridhar[23] Dil Se.. Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For capturing sounds as varied as the visuals and creating an unusual rhytham on the sound track.
1999
(47th)		 Anup Mukhopadhyay[24] Uttara Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For creating the ambience of sound in different layers to create an atmosphere in support of the stark visuals. The final mixed sound track has enhanced the effect of viewing the film enormously.
2000
(48th)		 Anup Dev[25] Moksha Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
The audiographer has, with extreme care, chosen the right sound, ambience and layered the tracks in an immaculate way to create an atmosphere to support the narrative of the film.
2001
(49th)		  • H. Sridhar[26]
 • Nakul Kamte		 Lagaan Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For The sound effects recorded both efficiently and imaginatively heighten the visual impact of the film.
2002
(50th)		  • A. S. Laxmi Narayanan
 • H. Sridhar[27]		 Kannathil Muthamittal Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For creating a sounds cape that heightens the dramatic conflicts of the story.
2003
(51st)		  • Anup Mukhopadhyay
 • Deepon Chatterjee[28]		 Bhalo Theko Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For the innovative use of sound, its quality and timbre.
2004
(52nd)		 Anup Mukhopadhyay / Alok De[29] Iti Srikanta Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For finest recordings of the sound in a superb way that lends an extra dimension to the film.
2005
(53rd)		 Nakul Kamte[30] Rang De Basanti Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For creating a vibrant sound design that effectively supports the graph of the film.
2006
(54th)		  • Shajith Koyeri
 • Subhash Sahoo
 • K. J. Singh[31]		 Omkara (2006 film)Omkara Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For the brilliant sound design that enhances the moods and emotions through different layers of sound in the film.
2007
(55th)		 Kunal Sharma[32] 1971 Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For capturing the mood and tension of that wartorn period which marked the climax of the deteriorating ties with our neighbours.
2008
(56th)		  • Pramod J. Thomas
 • Anmol Bhave[33]		 Gandha Marathi <templatestyles src="Template:Hidden begin/styles.css"/>
For its use of dramatically scripted sounds to heighten the mood of the film.
2009
(57th)		 Subash Sahoo[34] Kaminey Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For excellent live sound quality with the right tonal balance, capturing all the ambient sounds.
2009
(57th)		 Resul Pookutty[34] Keralavarma Pazhassiraja Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For creating an outstanding aural landscape that transports you to a historical era.
2009
(57th)		 Anup Dev[34] 3 Idiots Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For the fine amalgamation of different elements of sound to create the right ambience and perspective of the film image.
2010
(58th)		 Kaamod Kharade[35] Ishqiya Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For capturing the soft nuances and variations of the artists’ voices and location ambience in a sensorial manner.
2010
(58th)		 Subhadeep Sengupta[35] Chitrasutram Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For the use of various sound effects along with existing ambience to impart a subliminal experience in this abstract work.
2010
(58th)		 Debajit Changmai[35] Ishqiya Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For merging voices, location ambience, background music and other sound effects to create a near-tactile experience that is both real and artistic.
2011
(59th)		 Baylon Fonseca[36] Zindagi Na Milegi Dobara Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For providing a certain kind of purity in the audio track which is rarely heard in Indian cinema. The 'live' location sound contributes to enriching the actors' performances and feelings that the film intends to convey. He makes this rather complex task so simple, helping the viewers to immerse themselves in the sounds of the long road journey through the various landscapes of Spain.
2011
(59th)		 Baylon Fonseca[36] Game Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For giving a new dimension to the genre of the suspenseful 'whodunnit' cinema. His audio blueprint intermingles location sounds, dialogues, background music and songs into one united tension-packed experience. Interesting is the way he plays with sound levels in order to merge even the song sequences into the world of credible experience.
2011
(59th)		 Hitendra Ghosh[36] Game Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For creating a seamless narrative that traverses all over the globe from Greece to Thailand. He uses his rich experience of over 40 years behind the mixing console to deliver a sound track which brings the viewer's attention to every detail while refraining from overdoing the audio levels which films of the suspense genre are usually disposed towards.
2012
(60th)		 Radhakrishnan S.[37] Annayum Rasoolum Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
The technology of sync-sound is effectively employed in this film with semiurban setting.
2012
(60th)		 Anirban Sengupta and Dipankar Chaki[37] Shabdo Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
A deft handling of sound technology and its ramifications have contributed to make this film an unforgettable experience.
2012
(60th)		 Alok De, Sinoy Joseph and Shreejesh Nair[37] Gangs of Wasseypur – Part 1
Gangs of Wasseypur – Part 2		 Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For a film done in a milieu of natural locations the final mixing of multitude tracks has added tremendous cinematic value.
2013
(61st)		 Nihar Ranjan Samal[38] Madras Cafe Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
Superlative professional job, in picking up minute nuances, covering indoor as well as outdoor locations.
2013
(61st)		 Bishwadeep Chatterjee[38] Madras Cafe Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
With his competent sound design Bishwadeep adds authenticity and another dimension to the film.
2013
(61st)		 D. Yuvaraj[38] Swapaanam Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
A commendable job of keeping a perfect balance between, dialogues, sound effects and resonant 'chenda' playing.
2014
(62nd)		 Mahaveer Sabbanwal[39] Khwada Marathi <templatestyles src="Template:Hidden begin/styles.css"/>
Khwada for its excellent live sound quality which skillfully captures all the ambient sounds with the right tonal balance.
2014
(62nd)		 Anish John [39] Asha Jaoar Majhe Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
Asha Jaoar Majhe for creating a brilliant soundscape which enhances the narrative even in the absence of the spoken word..
2014
(62nd)		 Anirban Sengupta and Dipankar Chaki [39] Nirbashito Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
Nirbashito for the seamless movement from chaos into the quietness of solitude while integrating various elements of sound.

References

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  37. ↑ 37.0 37.1 37.2 Lua error in package.lua at line 80: module 'strict' not found.
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  39. ↑ 39.0 39.1 39.2 Lua error in package.lua at line 80: module 'strict' not found.

External links

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