MR RAYS SEQUENCE

Mr. Ray’s

Sequence

During an global epidemic, I had dabbled into the idea of making music. I had this idea of taking speeches of people I deeply admired and colliding them to harmony, melody, beats and sounds. But I never wanted to stop there. I had for the longest time wanted to visualize these sounds with things which seemed proper and appropriate.

During an global epidemic, I had dabbled into the idea of making music. I had this idea of taking speeches of people I deeply admired and colliding them to harmony, melody, beats and sounds. But I never wanted to stop there. I had for the longest time wanted to visualize these sounds with things which seemed proper and appropriate.

What’s the deal

with Bengalis & Ray?

When I was a little boy I was exposed to Satyajit Ray, who by his own measures is an institution by himself. Films like Shonar Kella, Gupi Gain Bagha Bain find warm places in my childhood as timeless classics, literature from Charulota were taught in college, and films like Nayak have turned out to be my personal picks. Ganashatru has been a therapeutic watch during the global pandemic and is a testament to how his films are relevant in even the most unique situations the world faces today.

When I was a little boy I was exposed to Satyajit Ray, who by his own measures is an institution by himself. Films like Shonar Kella, Gupi Gain Bagha Bain find warm places in my childhood as timeless classics, literature from Charulota were taught in college, and films like Nayak have turned out to be my personal picks. Ganashatru has been a therapeutic watch during the global pandemic and is a testament to how his films are relevant in even the most unique situations the world faces today.

I love this city, and I

never want to leave it

-Satyajit Ray, from an old rare interview

-Satyajit Ray, from an old rare interview

This project was a while ago, and was not documented with active care intially. Parts of the track was scraped from in-built sounds from FL Studio, looped to create this soundscape.

An accompanying video surfaced upon more thinking on the final packaging of this experience. During our student documentary project in film school, snippets shot by my batchmate, Saptarshi “Turjo” Ghosh, was discovered to be the perfect visual coating, with further finishing touches brought the entire idea to life.

Foley sounds in the videos create a diegetic angle, merging the two and forming a melting pot.

Mr Ray’s Sequence and it’s subsequent accompanying short film was one of my proudest moments, unintentionally of course. I was able to use found-footage, rare interview clips, pre-installed sound loops on a DAW software, and create something new, with it’s own denotations, expressions, standing on it’s own feet as a unique piece of work.

Mr Ray’s Sequence and it’s subsequent accompanying short film was one of my proudest moments, unintentionally of course. I was able to use found-footage, rare interview clips, pre-installed sound loops on a DAW software, and create something new, with it’s own denotations, expressions, standing on it’s own feet as a unique piece of work.

I am unsure if this project was to show me some kind of mirror to my own culture and heritage. As a creative based out of Bengal, I like all my circles idolized Ray. Only in retrospect, this project was an exercise of one Ray hidden bents, his use of sound.



Satyajit Ray masterfully used sound and music to enhance the emotional depth of his films. His minimalist approach, often collaborating with Ravi Shankar, created immersive atmospheres, allowing the music to subtly underscore the narrative and evoke powerful emotions.

Rishabh Bhaumik's Portfolio Image

By letting
go of the
banana

the monkey

becomes

a monk

Rishabh Bhaumik's Portfolio Image

By letting
go of the
banana

the monkey

becomes

a monk

Rishabh Bhaumik's Portfolio Image

By letting
go of the
banana

the monkey

becomes

a monk

© 2025 Rishabh Bhaumik. All Rights reserved
© 2025 Rishabh Bhaumik. All Rights reserved
© 2025 Rishabh Bhaumik. All Rights reserved
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