Weddings & Sangeet done right.

A home-city wedding is not one event but four or five with different characters, often across two or three venues inside the same week. Mehendi wants shade, warm light and background music; haldi is loud, wet and close to the family; the sangeet is a show; the pheras are a ceremony that must be audible; the reception is a receiving line with a stage behind it. The correct plan is a function grid that fixes date, venue, timing, guest count and mood for each, and then assigns separate inventory and an overnight changeover crew between them.

The sangeet is fundamentally a rehearsal problem, because the performers are the family. Twelve cousins, a bua who has choreographed her own entry and a bride's side that will add two acts the evening before are the reality, so you need a numbered performance list with the exact final audio file for each act, a dedicated playback operator who does nothing else, and a rehearsal slot on the actual stage with the actual PA. Mark entry and exit positions on the floor with tape, and give every act a spoken cue so nobody walks on into darkness.

The ceremony functions are an intelligibility problem dressed as a decor problem. A priest facing away from the guests, live shehnai or dhol, a mandap full of soft fabric and six hundred relatives talking is a hard audio environment, and the answer is discreet close microphones on the priest and the couple, distributed small speakers through the seating rather than loud stacks at the front, and a live camera feed to screens so the back rows see the varmala rather than the back of a head. Light it warm and high in colour rendering, because the wedding film is what the family actually keeps.