December 15, 2013 Leave a comment
“Nano-camera” that can capture translucent objects, such as a glass vase, in 3-D – MIT News Office
December 15, 2013 Leave a comment
“Nano-camera” that can capture translucent objects, such as a glass vase, in 3-D – MIT News Office
September 22, 2013 5 Comments
Hi friends, in this 100 years of South Indian Cinema celebration, being a part in this industry from 1997, I thought of preparing the list of best visual effects films from South India, I have put only few, please help me to fill the rest.
|Eega||Telugu||Jagadekha veerudu athi loka sundari||Telugu|
|Endhiran The Robot||Tamil||Aditya 369||Telugu|
|Anaganaga O Dheerudu||Telugu||Raja Chinna Roja||Tamil|
|Aayirathil Oruvan||Tamil||My Dear Kutti Chethan – Stereo3d||Malayalam|
|Sivaji||Tamil||Sri pothuloori veera brahmendhra swami||Telugu|
|Anniyan||Tamil||Sri Krishna Pandaveeyam||Telugu|
|Yamadonga||Telugu||Dhana Veera Sura Karana||Telugu|
|Devi||Telugu||Sri Krishnarjuna Yudham||Telugu|
|Devi Puthrudu||Telugu||Sampurna Ramayanam||Telugu|
|Jeans||Tamil||Jagadeka Veeruni Katha||Telugu|
|Allauddin Adhbhuta Deepam||Telugu|
August 3, 2013 1 Comment
Renowned in India as VFX Supervisor and CEO, Srinivas Mohan comes with 15 years of industry experience and a handful of awards. He is also an essential member of the VFX Advisory Board for Animation Mentor. We caught up with Mohan to talk VFX in India, hiring, and tips for junior artists.
-The Animation Mentor Crew
What inspired you to get into visual effects?
Mohan: During my childhood I loved watching Indian mythological and effects based regional films like Jaganmohini, Mayabazar etc. James Cameron’s “The Abyss” made a big impact in my life. I admired it so much that I watched it more than 20 times in the theater. It was like magic……water coming to life….taking the shape of a girl face….it was fascinating. Much later, while I was working as a software programmer, I saw my competitor working on a logo animation for his software launch. I challenged myself to animate a logo for my software launch. I got to know about “3D Studio – v4”, played around with it for a few days and animated a logo for the software SAM (Share Accounting Manager). My animation career started from there. Initially I did titles for wedding videos and then moved on to film title sequences, advertisements, television, and finally to feature films. I made the transition from 3D artist to visual effects supervisor in a span of 10 years. In this journey I have had many great moments and wonderful experiences. The best part is, my passion became my career.
What do you look for in new hires as a VFX Supervisor?
Mohan:In the current filmmaking scenario the VFX supervisor’s role is as important as the Director, DOP, Production designer, Editor etc., So, more than the knowledge of VFX tools and techniques, aspirants should have a good grasp of the entire filmmaking process. Along with creativity and technical knowledge, they should also have good problem-solving skills. Many unpredicted problems will arise in production and they should be capable of handling those situations. Good communication skills will help solve these issues. In India, most of the visual effects supervisors have to play the additional role of VFX producer as well. So, aspirants need to know about budget and production-related tasks as well.
As a VFX Supervisor, what was the hardest project you worked on and why?
Mohan:“Enthiran – The Robot” was one of the hardest projects as VFX Supervisor and VFX Producer. It was India’s first film with 2500 visual effects shots and it was India’s most expensive film as well. A lot was expected of me and my responsibility was huge. I needed to deliver high quality within an Indian budget! In order to save time and money, I introduced a few steps to the Indian VFX industry like Previz, Animatronics etc. To avoid usage of motion control rig, I brought back few old techniques which were used in the optical days, like using click sounds for matching both the layer trolley and camera movements. I used an entirely new technology like “Light Stage Scanning” for photo realistic digital face and developed a skin shader plug-in for Maya called “Jupiter Skin”. Thanks to Paul Debevec for great help. For the first time, on this project, I used many international studios for post-production work and had to face issues based on work culture. Eventually, the team effort paid off and we got a lot of recognition and awards.
What tips do you have for junior artists who want to work in visual effects in India?
Mohan:The main aim of visual effects is to make things believable. As an artists we take things that are impossible and make it realistic. In order to make things seem plausible you need to have artistic talent. Also, you have to learn the concepts applied behind creating a shot and not just how to operate the tools. A great visual effects artist should have knowledge pertaining to the overall techniques required for making a film. It is essential that the artist is creative, not just a person who has been trained to use sophisticated software tools. As I mentioned previously, we are a part of the storytelling process, we create or manipulate emotional content and we need to understand the emotional content of each frame.
Are you an aspiring VFX artist? Get started in our visual effects classes.
July 27, 2013 Leave a comment
Visual effects designing was not a product of digital era but had been used in film industry for decades in different forms and techniques, award winning designer V Srinivas Mohan said here today.
“Visual effects is not a new thing. It had been used in different ways in many movies decades before. We had once done such effects manually, but now we do it digitally,” he said during a seminar on “The Magic of VEX film Making”, organised by the Animation, Infotainment and Media School (AIMS) here.
“Everything is overall the same at the concept level. Only medium and techniques have changed,” he said.
Mohan, who has been in the industry for the last 15 years, is the brain behind the much acclaimed visual effects in blockbuster movies like “Endhiran, the Robot” and “Shivaji”. He also won a number of recognitions including the National Awards for the Rajnikath-starrer movies.
Elaborating on the technical details of the visual effects, he said every visual designer is like a music composer or magician who creates an entirely novel thing using a handful of tools and techniques. A successful visual effects designer would know every detail of film making including the characterisation and background of the story, he said.
“Just doing your job or applying theories correctly would not help anybody to become a good visual designer. Otherwise, he has to observe and try to know every aspect of cinema like a director,” Mohan added.
July 1, 2013 Leave a comment
Check out my casual talk on Mattrran Vfx at Film production Talk blog (FPT)
Thanks to Varun for taking efforts to improving Indian Vfx industry.
It was around 55 min lengthy talk and below are time breakdown details
starts with “Maattrran” film and story and main Vfx starts @ 7:50 min
@ 7:50 min about Mattran VFX
@ 17:30 min about Surya sir
@ 37:30 min about Rat sequence and Firefly
@ 39:35 min about Shankar sir “i”
@ 41:00 min about Rajamouli sir “Bahubali” & “Eega”
@ 43:10 min about Indian Vfx
April 2, 2013 3 Comments
March 26, 2013 Leave a comment
Ang Lee’s ‘Life of Pi’, a visually stunning 3D tale of an Indian boy adrift in the ocean for months with a Bengal tiger, won critical and commercial acclaim across the board. The film received several accolades including 4 wins at the 85th Academy Awards which included Best Director, Original Score, Cinematography and Visual Effects. While several feel that the film truly deserves all the honors there are some who think otherwise, primarily for the best cinematography.
This has sparked off a debate amongst the film fraternity on whether ‘Life of Pi‘ actually deserved the Oscar for Best Cinematography when it largely is a film driven by visual effects. There is also a section which feels that the acceptance speech of the Life of Pi Visual Effects Team winners, who spoke about the threat facing the VFX industry, was blatantly cut off to suppress larger issues.
The debate has also found voice amongst Indian filmmakers. Pandolin spoke to two such renowned artists, CinematographerRavi K Chandran and Visual Effects Designer V.Srinivas Mohan on their thoughts on this issue. Their valuable opinions present two interesting sides to this debate.
“Our government still sees us as technicians and are not providing good education, good provisions for local films, local creations. They still depend on people from abroad,” V. Srinivas Mohan
For example, almost 80 per cent of the animation content that we see on Cartoon Network is from abroad. If the government uses some kind of a clause that states that every day each channel should air atleast 30 minutes of content created by Indian companies, it will help in a big way. This is one of the ideas I thought of. They rely on content from abroad mainly because the content there is very cheap. But we have a lot of good talent that the channels can use. The Government needs to recognize our talent instead of outsourcing the job. We have outsourced a lot, have good knowledge of how Hollywood works, now India should focus on its artists here and provide good facilities, reduce taxes, give subsidies to local animation films etc.”
Continue……. Full article @ http://pandolin.com/deserving-or-not-the-debate-on-life-of-pis-oscar/
March 5, 2013 Leave a comment
Thanks to the jury for selecting Maattrraan for Special Jury Award.
Thanks again to Director K.V Anand, Actor Surya, Dop Soundhar, Editor Antony, Make-up Banu, Art director Rageevan and producers of AGS for great support. Thanks to Paul debevec, his team and Hao li for technical support.
Special thanks to entire team of Vensat, EFX, Firefly, Gemini, Pixon, Whitelotus, DDP, Image metrics and Indian Artists. Thanks to entire film crew.
March 2, 2013 2 Comments
February 27, 2013 6 Comments
Excellence in Media & Entertainment (EME award 2013)
Thanks to the jury for selecting “Maattrraan”
Thanks again to Director K.V Anand, Actor Surya, Dop Soundhar, Editor Antony, Make-up Banu, Art director Rageevan and producers of AGS for great support. Thanks to Paul debevec, his team and Hao li for technical support. Special thanks to my entire VFX artists team.
January 31, 2013 Leave a comment
I’m extremely happy to share the news that Maattrraan Vfx article published in world’s top visual effects site FXGuide
check end of the article
Thanks to K.V Anand, Surya, Soundhar, Antony, Banu, Rageevan and producers of AGS for great support. Special thanks to my entire vfx team.
Detail making of videos :
November 3, 2012 2 Comments
Conjoined Twins – Maattrraan
“Maattrraan” is a Indian(Tamil) feature film based on the life of conjoined twins. This film is directed by K.V Anand and actor Surya played both twins roles. We did around 2000 Vfx shots for this project.
In “Maattrraan” both the characters are joined together at all times, because of which there is interaction in each and every frame. So we decided to go with Body Double with head replacement option with two methods.
Method A : Digital Head replacement
For faster head and body movements, mainly in action and dance sequences, we have used Digital Surya. We scanned 22 facial expressions of Surya in Lightstage, LA. Thanks again to Paul Debevec for helping with the scanning. We have used “Image Metrics” team for facial animation, because of budget constrain, we have used them mainly for wider shots. For closeup shots we redesigned a rig using those 22 scanned shapes. Initially we created morph targets manually based on the scanned expressions, but we could not get a 100% match. Later on Hao Li from LA helped us to create accurate morph targets by warping the rigged mesh with the 22 scanned expressions. To record Surya’s facial performance, we created a simple head rig with a helmet, LED strips, CCD cam and iphone4s. It served our purpose well. Thanks again to Jupiter Jazz team for Skin Shader and Autodesk Maya is our main software.
Method B : Live Head replacement with 5 Camera setup
In this method the main issue was matching Body Double’s camera perspective with Main Artist camera perspective while shooting his head separately in green screen. In order to solve the perspective issues, we decided to capture few extra angles of the Main Artist’s head, so we can match perspective later during in post production. For that we used 3 main cameras and 2 supporting cameras. We shot the Main Artist as 1st twin while a Body Double played the 2nd twin. Later, the Main Artist acted as the 2nd twin in a green screen floor using the 5 camera setup. We used 3D mesh of the Main Artist head, tracked and animated it to match his green screen live head, then projected all 5 camera textures onto that 3d head. The aim was to get the Main Artist’s head (shot in green screen as 2nd Twin) into a 3D environment with live textures, so we can match the Body double’s perspective. This 5 camera projection method is also used for correcting main artist look problems. This method looks simple but it took lot of our R&D time. One of our main task in 5 camera setup was to exactly match 5 cameras position in the 3D environment with the live cameras position. If these cameras are not matched properly, the projection method won’t work at all. To achieve this we used X-box Kinect sensor (like a 3D scanner) to capture camera placements on location. It worked well for indoor shooting, but failed in the bright light outdoor green screen setup. The other important task was to track and match the 3D head with Main Artist’s live head. We visited L.A to scan the lead actor’s expressions using Lightstage. While we were there, Paul Debevec and his team at ICT lab saw our test work and gave us tools to simplify this entire process. It was like image based modeling that creates mesh and cameras based on 5 cameras image data, It helped us tremendously. Thanks to Paul and his team for their help. We have used Nuke to do 3D projection and final comp.
Scene 16 Input
5 Cameras Input
5 Cameras Projection
Scene 16 Output
One more important task was the Main Artist has to match his Body Double’s head and body movements with proper timing. For that we recorded body double’s video while saying 1,2,3,4…. as audio bg track, so Main Artist could observe and remember his Body Double’s head and body movements by using numbers as reference. Because of Surya’s (Main Artist) excellent performing talent, we were able to pull this off without looking for another option. In some situations he has to remembered more that 40 tasks! And lighting wise Dop Soundar has done excellent job in matching both lighting conditions manually, in some situations we have moved lights instead of artist waking. Interestingly in this project we have used almost all type of cameras like Film Arri 435, Arri 3, Digital Cannon 5D, 7D, iphone, Kinect sensor and small CCD camera.
5 Camera studio setup
Apart from these methods, we have used simple head replacement and sometimes full body replacement methods in regular 2D comp too. Overall for 2000 vfx shots we used 8 Indian companies with 400 artists in a period of 2 years time. Below are the links of few final output sequences.
Twins Dance music number Ouput
October 21, 2012 3 Comments
It was excellent team work and thanks to entire Maattrraan team for great support.
October 13, 2012 3 Comments
Thanks U all for recognizing Vfx involvement and encouraging us. Thanks to entire Maattrraan team for great support.
@ Times of India – sat oct 13
Surya2 is how credits roll for ‘Maattrraan’ (‘Brothers’ in Telugu), the fifth double role by actor after ‘Perazhagan’, ‘Vel’, ‘Vaaranam Aayiram’ and ‘7 Aum Arivu’. And thanks to him, it is double the performance and double the fun, though it would have meant enormous effort on his part to portray both the characters in a very convincing manner.
It would also have been double the work for cinematographer S Soundar Rajan and VFX supervisor V Srinivas Mohan, whose world class work is one of the highlights of the film. The live action and the graphics blend seamlessly on screen in all the scenes involving the conjoined twins. The biggest challenge for a VFX supervisor is that the special effects should not stick out like a sore thumb, and Srinivas Mohan passes the test with distinction. The fight sequence in an amusement part is one of the highlights of the film, and stunt supervisor Peter Hein and Soundar Rajan come up with some imaginative and eye-catching visuals to captive the audience.
One of the major highlights of the film is its VFX. Helmed by Srinivas Mohan of Endhiran fame, the VFX team has worked hard and it is evident in all the frames that feature the conjoined twins. The action sequence at the roller coaster ride is the best example where all the departments like the camera, stunt, VFX and Suriya have worked in epic tandem and the result is brilliant. Editing plays a crucial role in such visual effects intensive movies and editor Antony has done complete justice to his craft. http://www.behindwoods.com/tamil-movie-reviews/reviews-2/oct-12-02/maattrraan-review.html
The real success of visual effects in Maattrraan is when you no longer realize the complexities involved in making Suriya act as conjoined twins. The Motion Capture technology, earlier used in the Adventure of Tin Tin, is for the first time used to portray the conjoined twins. Visual Effects Supervisor Srinivasa Mohan’s (Enthiran fame) work is truly world class that not even in one scene will you be able to spot any flaw. The VFX for showing overlapping body parts, face and expressions are so minutely handled. Visual Effects is so perfectly done to the point that the critics and award committees may end up overlooking the role of visual effects department as both Suriyas look so real to life.
Maatraan gets a lot of help from the Srinivasa Murthy’s VFX department and the way everything looks natural in the first half, even when two Suriyas are standing next to each other throughout is a tribute to their work. Soundar Rajan’s cinematography works in tandem with the effects and impresses. Meanwhile, editor Anthony gets the toughest job of editing the film that is filled with added effects and touches and despite everything, he joins bits and pieces pretty well.
The VFX done by Srinivas Mohan of Enthiran fame is as good as any foreign film. The action scenes of the conjoined twins in the amusement park, and the way they dance together look so real on screen. KV Anand is a director with a vision and he knows how to bring in the right mix of entertainment elements.
Suriya packs double punch with roles – the studious Vimalan and the cheerful Akhilan. Needless to mention, Suriya is the star of the movie and he brings out the character dissimilarities as is needed to show differences in the roles. While any double role demands much from the actor, the role of a pair of conjoined twins is not only demanding but also technically challenging. Anand’s samurai in VFX Srinivas Mohan ensured that there are no slip ups in the VFX part of the movie and ensured that the visual effects remain on par with international movies.
Technically, the film was way ahead of the league, especially in the visual effects department headed by Srinivas Mohan, who made the conjoined twins look as real as possible. Editing by Anthony is satisfying, while music by Harris with visuals sounds better.
October 12, 2012 Leave a comment
Had great time working with Maattrraan team. Thanks to K.V Anand, Surya, Soundhar, Antony, Banu, Rageevan and producers of AGS for great support. Experimented with new technics to achieve believable conjoint twins and make our work invisible in the flow of the film. Special thanks to my entire vfx team for making this possible.
October 1, 2012 Leave a comment