Interview @ IndiaGlitz

Interview @  IndiaGlitz

@ 28:33 – About Baahubali Vfx
@ 23:41 – About Producer Shobu
@ 32:27 – VFX India Future

Baahubali in Variety L.A magazine

India Saga ‘Baahubali’ Targets the World With Ramoji Film City

Baahubali in VarietyVariety May8 Cover page

About Vfx

Visual effects supervisor V. Srinivas Mohan is no stranger to big-budget spectaculars, having been in charge of “Enthiran” as well other high-profile pics. He says that vfx on Indian movies can achieve 80% of an “Avatar”-like shot for one-quarter the cost. What Mohan and his team are striving for is to deliver the remaining 20% to reach global standards.

“Audiences are used to watching photo-realistic effects in Hollywood films,” Mohan says, “and the challenge was to re-create that on an Indian budget.”

Mohan’s task has been to realize Rajamouli’s vision — one that has included a more than three-mile-high waterfall and epic battles with armies of hundreds of thousands, along with horses, elephants, chariots and giant catapults. “When the director says ‘I need it huge,’ ” Mohan says, “there is no end of that huge.”

Almost 90% of the film requires vfx work, with the live-action shooting augmented and expanded in post. Some 600 artists are executing the f/x at 18 facilities around the world, led by Makuta and Firefly in Hyderabad, Prasad EFX in Hyderabad and Chennai, Tau Films in the U.S. and Malaysia, and Dancing Digital Animation and Macrograph in South Korea.

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Special Feature: V Srinivas Mohan – Putting Indian Film Industry On the VFX Map

Special Feature in

Special Feature: V Srinivas Mohan – Putting Indian Film Industry On the VFX Map

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“He has taken visual effects to new heights. He deserves an Oscar” – Robot (Enthiran) director Shankar on V Srinivas Mohan.

 V Srinivas Mohan – an electrician, computer programmer, animator at different phases of his career and currently, one of India’s most renowned VFX experts. Srinivas Mohan started out from humble beginnings and is still, like any of his interviews or his own blog suggest, very humble. However, the body of work he is involved in and more importantly, the quality, is colossal. For the greatly acclaimed movie, Enthiran, Mohan tried to deliver visual effects of international standards, offering an end effect which in Hollywood would cost 4 times the budget allocated. No wonder, he is one of Shankar’s favourites.

Srinivas who has initially been involved in a large number of movies in Hindi, Tamil, Telugu, Malayalam and Kannada for digital compositing made waves with the movie Magic Magic for which he was the visual effects supervisor. A VFX supervisor, for those who don’t understand, is responsible for handling the VFX project and the personnel, managing both the technical and artistic aspects of the project. As someone who is responsible for determining the most cost-effective and technically efficient visual effects techniques for a concept, Mohan scouts countries for freelancers who can offer him the best possible results. From timings, negotiations and camera set-ups, there is a lot on the VFX supervisor’s plate. Mohan has rightly asserted, with ample reason that the VFX crew is made up of artists, not technicians, as they are usually referred to.

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For Magic Magic, Mohan won the National Film Award for Best Special Effects. However, the juggernaut was only starting and far from reaching the dizzying heights it was destined to. Srinivas Mohan worked with Shankar on several movies like Boys, Anniyan and Sivaji. The skin grafting technique used by Mohan in Sivaji creating a digital skin, proved to be one of the keys to his success that year, earning him a second National Award. However, he blew everyone away a few years later with Enthiran, a sci-fi wonder, the ilk of which wasn’t previously seen in India, earning him a third National Award. He was also the VFX supervisor for Maatraan, a story revolving around conjoined twins, a challenging VFX project in its own right.

 If, 2500 VFX shots in Endhiran, was colossal, one runs out of terms while discussing Mohan’s current project, Baahubali, a period drama that is slated to have as many as 4500 VFX shots, easily Mohan’s biggest VFX budget till date. VFX producers and supervisors are responsible for a lot in movies hinged on VFX, from handling the client’s budget to getting the best work done, while collaborating with art directors and other crew on the movie sets. That doesn’t stop Mohan from being vocal about encouraging local talent pool of animators and doing his own bit for the Indian animation industry. The VFX guru will also be overseeing the work of the company Rising Sun Pictures, for Shankar’s next, the Vikram starrer Ai.

 Mohan who can impress you with his knowledge about Animatronix, pre-visualization concepts, current software, CG, motion graphics and other VFX elements, is also the founder of Indian Artists Computer Graphics, one of the leading Indian VFX firms, based out of Chennai, that raises bars with each project, while working on budgets as low as 1/10th of the contemporary Hollywood costs. Still young considering how much he has achieved, the accomplished VFX giant has certainly traversed an arduous journey, coming a long way from doing wedding titles to heading Indian movie industry’s biggest VFX projects.

 April 10th is his birthday and Releaseday Team would like to wish him a very happy birthday and even greater success and path-breaking glory in the coming years. 

Talk(Podcost) about Mattrran Vfx and Indian Vfx Industry @ FPT

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

Deserving or not – The debate on Life of Pi’s Oscar – My interview


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 @