Hollywood VFX Expert Phaneendra Gullapalli at AISFM

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AISFM had a Master Class with Mr. Phaneendra Gullapalli, a Hollywood VFX expert, and a member of the team that won an Oscar for the Hollywood film The Curious Case of Benjamin Button for visual effects. Phaneendra  has also worked on visual effects for movies like 2012, Mummy-III, Transformers-II, Tron: Legacy, Star Trek: Into Darkness, Percy Jackson & the Olympians: The Lightning Thief and many more. Students enjoyed the interactive and engaging session with the expert greatly.

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Speaking about his journey from Vijayawada to Hollywood, he recounted how he fell in love with animation & visual effects early on in his life. He kept pursuing his passion inspite of being rejected four times for internships at famous Hollywood studios. The secret to his sustenance and success? He says “One third of your life is spent at your workplace and I didn’t want to pursue something that I was not happy with. I wanted to pursue my passion, so I took up animation. Some people give up after a setback. I didn’t because there is a thin line between winning and losing.”

What level of artistic instincts and capabilities, and how much technical skills should a person have, asked a student to which he said that “it is good to have both backgrounds if possible; artists and technologists together is a good combination.”

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Speaking about the process of visual effects in a typical film, he gave a walkthrough of his role of expertise in the process of filmmaking. He demonstrated how with Halon virtual camera, wherein you shoot your film before you shoot your film live. This method was used on projects like Bahubali, where by this previsualizataion, lot of production cost can be saved as the director can pre-emptively make changes to his visualization, rather than trying out his ideas on expensive sets.

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‘When do you come into the picture?’ was another question posed. “VFX and post production are collaborators right from Stage 1 and on a daily basis,” he said and cited an example of Bahubali, “We would shoot 10 to 12 shots for the scene and Director Rajamouli would pick one for the final scene.”

Talking about the role of a VFX supervisor, he said that he ensures that each scene is shot as per the requirement. “In Mummy III, the green screen was blue instead of green, so it is the supervisor’s job to ensure such things don’t happen.”

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Phaneendra also shared tips and tricks used in the industry and said that to tackle the challenges of lighting conditions, a chrome ball can be used and software like Nuke, Maya or Houdini. Talking about the work culture in Hollywood, he said “the culture is a lot different in Hollywood and there is no hierarchy per se but it is more about the role/job description of each individual on the team.”

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What happens towards the end of a shoot, how does an editor receive the scenes? To this, he said that actors have reference points and so do the VFX artists. “For example in the movie The Curious Case of Benjamin Button, we wanted to show an old man’s body and Brad Pitt’s face, so we shot two different portions of the same scene and Brad’s face was superimposed on it.” He went on to add that directing actors is also a fundamental requirement for VFX artists and said “In Mummy III, there is a scene where the demon is holding a sword, to make it more powerful, we made the hand holding the sword shake, which was the improvisation of the VFX artist.”

Sharing his thoughts on the current entertainment industry in India, which is growing at a rapid pace, he said, “These are certainly exciting times as the industry is evolving with new platforms for storytellers like Virtual Reality and Augmented Reality. Example: Mr Rajamouli embraced virtual reality on his last feature film Bahubali2 and you can check it out here http://baahubali.com/vr/

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Content vs Technology, your take on the right balance required to succeed?  To this, he said, “Working on various tent-pole Hollywood feature films I have learnt that story is paramount. Every Hollywood director that I worked with used technology as a tool to create visual experiences that stand out which I believe is striking the right balance.”

What is your favorite movie in terms of animation/VFX and in the ones that he has worked? For this, he shared, “I’ve spend almost two years of my life working on Tron Legacy which is no doubt my favorite feature film till date that I worked on.”

Sharing his thoughts about AISFM and its facilities, Phaneendra said, “I’m impressed with AISFM’s facilities during my tour and believe AISFM is second to none. AISFM is in good hands with Mr. Bala Raj steering the ship with his phenomenal Hollywood industry & academic experience. I hope students will leverage the AISFM’s facilities, resources and personnel.”

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His advice to aspiring professionals in this field, “Focusing on foundations and fundamentals will enable students to adapt to the ever evolving industry and help them be at the forefront at any given time. For example: Virtual Production never existed prior to feature films like Avatar and today it’s pretty much the standard and integral part of film-making process.”

Closing the master class, Phaneendra gave some words of advice, “Job opportunities in other areas like virtual reality and augmented reality are now there to connect to the consumers. If you are up to speed with these latest technologies, then you have more chances. There are lot of applications in diverse areas – like Apple X has IR tech etc. The gaming industry is also garnering a lot of interest, and training in these areas is a good idea.” He further added, “Networking and working hard is very important and of course there is no stopping to your learning curve.”

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Things you didn’t know about Bahubali!

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Bahubali, a movie that has created and rewritten history in the annals of Indian cinema and how! The most awaited film, SS Rajamouli’s magnum opus Bahubali: The Conclusion surely kept its word as the biggest film made on Indian celluloid and the massive, stupendous and record-breaking response it received on its opening weekend is more than valid proof enough. It has strengthened its hold at the box office like never before and cooked up a storm, witnessing a mad rush at the ticket counters with numbers reaching new heights by the day.

Did you know that the magnum opus, entered the Rs 100 crore club on its release day and no other Indian film has ever entered the Rs 100-crore club on its opening day. It was also the widest ever worldwide release in close to 9000 screens, no less! Want to know more about the epic movie, then read on to find out about the things you didn’t know about Bahubali!

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  • Bahubali: The Beginning and the sequel Bahubali 2: The Conclusion together are the most expensive Indian movies ever made, with an approximate budget of nearly 450 crore.
  • Out of 100 years of Indian cinema Bahubali is the only movie to be featured in a BBC documentary. And The Rise of Sivagamiis one of the books of Bahubali fiction trilogy.
  • More than 800+ technicians, including the special effects team of Jurassic world, were hired for the making of the movie. Bahubali involved a lot of complex computer-generated imagery (CGI) and VFX shots which comprise almost 90% of the movie, that is about 4,500-5,000 VFX shots in 3 hours!
  • Prabhas worked with his local trainer to build his body. He visited the US and interacted with WWE wrestlers to understand their training regimen. He was so impressed with the infrastructure that he got the equipment, costing INR 1.5 crore, and built a personal gym imitating the set-up of the WWE wrestlers.
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  • Prabhas would work out for 6 hours daily and start training early in the morning. His regime would start with about one-and-a-half hours of cardio, with focus on muscle building. In the evenings, to strengthen his body muscles, he would lift weights for about one-and-a-half hours.
  • Prabhas gained a whopping 20 kilos for his part as Amarendra Bahubali and his diet consisted of fish, egg whites (40 half boiled eggs and egg whites), vegetables and almonds. The actor would eat a meal every two hours, and had a total of six meals every day, which did not include rice. The total calorie intake of Prabhas while shooting for Bahubali was between 2000 to 4000 calories a day!
  • Prabhas did not sign a single movie for the past three years so that he could focus on Bahubali and sink into the feel of it.
  • It is the only Indian movie to be made in 4D and many of the movie halls had to adjust their projectors just to show this movie on their screens.
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  • This is the first Indian war movie which has stood in the category of Hollywood war movies such as Troyand 300.
  • This is the first time any regional movie is getting outstanding applause in the world market.
  • The movie took more than three years to get completed and the pre-production and scripting took one year, while the live action shooting took two years. Post production took more than six months.
  • The production crew consisted of 25 National Award Winning artists and technicians.
  • About 20,000 weapons were designed and used in the entire move and it had 50,000+ VFX shots spanning both the parts.
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  • 110 acres of space was reserved at Ramoji Film City for the shooting of the war scene.
  • Bahubali: The Beginning is the biggest VFX film in Indian film history with around nearly 90% of the final output achieved through various visual effects techniques such as rotoscoping, chroma removal, wire removal, 2D and 3D tracking, matchmoving, color correction, live action shooting and CG (3D Computer Graphics) integration, matte painting, camera projections and compositing.
  • Around 2000 junior artists were in live action shooting.
  • A total of 17 VFX studios and 600+ 3D animation and visual effects artists worked to finish the post production of the movie.
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  • Bahubali poster entered into Guinness Book of World Records and Limca Book of World Records – the production team held an event in Kerala where they revealed a movie poster measuring 51,968 sq ft and gained entry as the biggest poster of motion picture in both the books.
  • Another record set; SS Rajamouli tweeted on March 17: “50 million cumulative views of our trailer, across all languages, on YT & FB. The most viewed Indian movie trailer in 24hours. #BB2Storm”.
  • The climax of Bahubali: The Conclusion was shot with a whopping budget of Rs. 30 crore, which was almost double the budget of the climax shot of its prequel Bahubali: The Beginning.
  • The waterfall scene in Bahubali – The Beginning that took almost one-third of the total shooting time of the entire film.
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  • To get their bodies fit for the role they were playing Prabhas and Rana Daggubati were on a strict fitness regime, including diet and workout. They were even trained in martial arts by Vietnamese trainer Tuan. Both actors gained over 30 kilos to get into the skin of their characters.
  • Reportedly, director SS Rajamouli plans to make Bahubali 3.
  • It is said that Rajamouli took about more than 100 days to get the waterfall shot right. Being the most important scene in the movie, the team shot the sequence at three different waterfall locations to give it a grand effect.
  • A new language named ‘KILIKI’ was invented for the terrifying Kalakeya tribe in the movie. A completely new language was developed, with 750 words and 40 grammar rules!
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  • It will be the first Indian movie to have its own museum. The museum being made will house all the weapons, armours and costumes that the actors sport in the film.
  • ‘Bahubali’ has surpassed ‘300’ in IMDB ratings and is ranked at 9.4 out of 10.
  • A leading ticket-booking website revealed that they sold one Bahubali ticket every 12 seconds, breaking records there too!

The Man behind the “Visual Treat”: D.o.P of “Bahubali 2: The Conclusion” at AISFM Campus!

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SS Rajamouli’s magnum opus “Bahubali 2: The Conclusion” is breaking all records with its successful run at the box-office. The film which is in its second week has garnered an estimated whooping 1000 crore across India, on its second Monday.

Mr. K K Senthil Kumar, D.o.P/Cinematographer of “Bahubali 2: The Conclusion” visited the AISFM Campus for an Interactive session. AISFM hosted a special screening of “Bahubali 2: The Conclusion” for its cinematography students and also for the camera technicians working for Annapurna Studios. Followed by the screening, Senthil was congratulated by AISFM, for the huge success of the film and the impact it is creating on millions of people.

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As VFX and storyline are an integral part of the movie, Senthil shared his thought-process and ideas on certain shots of the film.; sharing facts like – the film was shot on 4:3, rather than a 16:9 to purposely serve the IMAX screen. “The directors vision for the complete series was accurate in his head, and as the D.O.P, I helped him execute that vision through my camera. We worked with each other on most of the pre/post production,” said Senthil answering a question posed by one of our students.

When asked about ‘VFX to normal scenes ratio’ in the movie, and how it acts on his decision-making while capturing particular scenes; he said “The key is to keep it simple. I always try to keep it simple while I’m working. I have a list of scenes and I approach each one with the simplest solutions.” he answered.

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“As the film had exceeded expectations with the first part of the movie, the director had to take it up a notch, to surpass the audiences’ expectations which were set really high, already,” he added in the Q/A session, which was really insightful for the attendees who could gain behind-the-scenes knowledge about this blockbuster phenomenon taking over the world.

He also mentioned that planning and resource management is really important with a high budget project like Bahubali. He further added that, it took a complete year of pre-production before the sequel’s shoot began. If a brief idea of what has to be projected on screen is fairly accurate in the head, the execution becomes way easier. He mentions the skill-set to be prepared for instinctive decisions as when the shoot happens, improvisation for getting an edge should be done, naturally on a regular basis.

As Bahubali will be known for setting a trend, in the size that it has, it was an honour to have an interaction with the D.o.P of the biggest hit in the cinema industry, making and breaking records, in quality of talent and quantity of revenue, while uniting the world globally with the fascinating art of filmmaking.

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Digital Domain: Leading Hollywood VFX Company visits AISFM!

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Digital Domain, is known for VFX on about 200 blockbuster Hollywood movies like “Titanic”, “Maleficent”, “X-Men: Days of Future Past”, “Iron Man 3”, “TRON: Legacy”, “Furious 7”, “Pixels”, “2012” and many more. Providing an exciting new future in storytelling and content creation technology, from Digital Domain; Austin Armus, Director – Business Services Integration, Lala Gavgavian – Vice President, Human Resources/Recruiting/Training, and Sudhir Reddy – Head of Digital Studio (India) were at the campus addressing the students along side Bala Raj (Dean, Academics) and Amala Akkineni (Hon. Director, AISFM).

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The Master Class included the representatives of Digital Domain showing us their work reels as an introduction to display their creative techniques and talking about the content that they have been making. The session then commenced from being an introduction to turning into a informative Q/A between the representatives and the students.

As VFX is one of the most indulged courses at the institute, art/animation enthusiasts were present amongst the students and faculty members. During the Q/A, the concerned representatives, according to their expertise, answered questions put up by the students in depth. With a vast number of movies in their roaster, they have worked with the best of the directors in the industry including Steven Spielberg.

Talking about the rapid pace at which the technology is evolving, Digital Domain mentioned that they fully utilised the potential of the advancement in their equipment, over the years. With High Definition viewing, HD has also paved it’s way for VFX and animated content to be seen by the audiences in HD.

As they plan to expand to India, working alongside the offices in Los Angeles and Vancouver they want to diversify in terms of creativity by having a presence in different countries. Austin also spoke about the scale of planning and collaboration with the director that goes into the pre/post production stage before they start on a film project.

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As technology is advancing day-to-day, Digital Domain tries to keep up with the best technical resources to get the desired output for their films/commercials. As high definition viewing has become necessary for the quality of the product, Digital Domain has expanded to areas of Virtual Reality, and are currently working on movies made especially for VR.

Founded in 1993, Digital Domain is one of the largest and most influential visual effects studios in the world. The company and its artists have produced industry-leading work for movies, commercials, video games, music videos, concerts, and virtual reality projects. The company has been at the forefront of innovation for over two decades and pioneered the creation of internationally famous Digital Performers including Virtual 2Pac (the “Coachella Hologram”) and Teresa Teng. Digital Domain was also a co-producer on the feature film “Ender’s Game”.

During that time, its artists have earned multiple Academy Awards in the Visual Effects and Technical Award categories. Digital Domain has evolved in its artistry to hundreds of commercials, video games, and music videos, from “Become Legend” game trailers, to Nike’s virtual reality “The Neymar Jr. Effect”, to the ground-breaking Ronda Rousey fight trailer “Revolution” for the UFC.

From setups in California and Vancouver, including its own state-of-the-art performance capture studio, Digital Domain continues a tradition of creating extraordinary imagery and productions for entertainment and advertising purposes.

A ‘walk-through’ of The Walk!

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High-wire training undertaken by the film’s star Joseph Gordon-Levitt, lengthy pre-vis, a green screen studio in Montreal, simul-cam setups, stunt doubles, face replacements, meticulous replication of 1974 New York and the Towers (including hand-animated traffic!), innovative cloud rendering, and well-planned out stereo – at a “very responsible” budget. We take you, step by step (pun intended) as to how Atomic Fiction, led by visual effects supervisor Kevin Baillie, reproduced Philippe Petit’s daring high-wire act between the Twin Towers of the World Trade Center on August 7th, 1974 for Robert Zemeckis’ The Walk.

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To portray Petit’s death-defying walk convincingly, several methods were adopted. Gordon-Levitt was trained by the actual wire-walker himself just prior to shooting, and continued training during photography. For scenes on the wire, production utilized the actor, or his stunt double, on a real wire, on special planks aka the Canadian Bar.

One challenge faced during shooting was the cross-over between the pre-visualization, actual partial set-build and assets that Atomic Fiction had begun the film’s digital construction on. “We had pre-vis (pre-visualization) assets from the original pre-vis that was done,” notes Baillie. “But then we realized they weren’t the same as the set build that had been done off of blueprints of the towers. We had to figure out where the differences were, take the pre-vis assets, tweak it to match the simul-cam just enough so that we could rely on it on set. Then in the post-vis (post-visualization) there was another round that went into it, but Atomic Fiction had started building the hero assets by then and could contribute some of those dimensions to the post-vis team. By the end of the process we had a model that was a dead nuts match of the set build and the entire building.”

Zemeckis leaned heavily on the 3D side of the final image to help immerse the audience in Petit’s world, both between the towers and in many other moments, during the film. To do this, he shot in mono. “I think that’s a very important distinction to make, and we had several meetings early on to make sure that everybody from Bob through to set construction were clear on what the rules were on 3D for this film. Bob really respects 3D as a tool and wanted to make sure we got it right, even though we were doing a conversion, that he got the film-making and lighting and focus, and what compositions worked. He also had to consider how he would cut the movie, he was thinking about editing while shooting.” Legened3D handled the conversion work, taking packages of final comps from the VFX vendors and layering them together within the desired stereo budget. “Interestingly,” notes Baillie, “there are only 826 shots in the movie in total. Some blockbuster films have 2200 visual effects shots. But Bob wanted to make sure that for the 3D to work he would give the audience time to take in the environment and feel it, which works better in stereo.”

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Although this article concentrates on the main wire sequence, The Walk also included significant visual effects contributions from two other vendors – Rodeo FX and UPP. Rodeo delivered effects for several Twin Towers ground level scenes that had been filmed only on partial sets, as well as the shots of Petit narrating the film upon the torch of the Statue of Liberty. UPP handled Paris sequences that were filmed in old Montreal, Petit’s early wire performance at a park in France (filmed almost entirely on green screen), and his walk between the towers of the Notre Dame cathedral (again a green screen stunt).

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“India will be among the top content creators”

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Established in the year 1999, Toonz Animation India Pvt. Ltd is the state-of-the-art animation production facility of Toonz group. The 18,000 sq feet facility is nestled in Technopark, India’s largest IT Park located in the South Indian state of Kerala, one of the must see destinations of a lifetime as described by National Geographic Traveller. From the creation of India’s first 2D animated TV series & 2D feature film, to India’s first 3D stereoscopic theatrical, the studio boasts of an envious pedigree that saw many successful coproduction partnerships with the likes of Walt Disney, Turner, Nickelodeon, Sony, Universal, BBC, Paramount, Marvel and Hallmark.

Today, the studio has emerged as the leader in the Indian animation industry with a host of successful productions for the domestic market and one of the most admired studios in South East Asia. The studio has been heralded by Animation Magazine as ‘one of the top ten studios to watch’ and also been chosen as one among India’s top ten ‘cool’ companies to work for.

Toonz Animation is now our placement and intern partner.  Mr. Jaya Kumar, CEO shared his thoughts on the animation industry.  Read on to find out what he has to say about the right recipe for a successful profession in the world of animation, what wins when it comes to content or technology and much more.

What do you think is the proper recipe for being a successful professional in the animation industry?
Lots of passion, lots of practice, constant learning, always updated and last but not least, an entrepreneurial attitude.

Regardless of an ocean of creative minds working in the Indian Animation Industry, why do you think our industry is not booming (Intellectual Property creation as compared to Outsourcing) in the international market and what can be done to bring us to spotlight?
This is not entirely true. First of all we need to understand that Indian Animation Industry is in a transitionary stage from a destination for outsourcing because of cheap labour to a participatory creative activity since people abroad have started believing in the creative power of India. While India is not fully recognized as a resource for successful IPs originating from India, the fact is that we have already started seeing the light at the end of the tunnel. India is emerging to be the largest young population with lot of appetite for animated entertainment content in various platforms. Some of the new concepts getting developed are able to travel across the world. India is at the threshold of crossing over to quality content from quantity. Quantity at a lower cost, even at the cost of quality was a need during the last decade. It was more on the Indian content that could connect with the Indian kids. There are ample examples of successes for that. Now it is slowly turning to quantity AND quality. We will be seeing a flood of quality Indian content from India for India in the immediate future essentially due to better money and the better appetite for Indian kids for quality.

Now coming to bringing India to the spotlight in the international market, we believe, the world has changed and so did we. Now we are looked at as a destination not only for getting the work done at a better cost but India is also looked at as a very strong partner both creatively as well as production-wise.

As far as Toonz is concerned our playground has already become more global. Another important matter in today’s market is the overall demand for content for digital platforms. And that is not local. It is international. The boundaries have started to blur big time. It is the innovation, technology and the creative power that is going to rule the immediate future. Henceforth there will not be the concept of specific region or country when it comes to Digital Platform. The content will still rule even in the regionalism. We need to come up with localised content and spread across the world. And there is no escape from this if one wants to remain in this industry.

Where do we stand in the Animation Industry in CGI/Visual Effects and where do we find ourselves ten years from now?
Technically and creatively, we are quite there in comparison to international arena. Feature films like Kung Fu Panda 3, are examples for this. A look at the credit list will prove that. So it is not the question of talent or skill. It is the question of opportunity and that is fast opening up in India. As far as VFX is concerned, there have been only a handful of films that demanded heavy VFX. And the use of VFX to tell the story or to enhance the visuals has already arrived and it is here to stay.

Talking about ten years from now, it is too difficult to predict as the technology and the appetite are fast changing by months. One clear thing that is emerging is that people have started believing in VFX for feature films. When it comes to animated features, it is a little different. Indian population is not yet tuned to see a story told with animate characters. Chances of success have been less due to the expense vs. the potential revenue. But by nature, Indians are way too smart to find ways to reduce the production cost and still tell a story effectively. This is proved multiple times with live-action feature films. Even if we have to really predict, in ten years from now, the technology and the viewing experience is going to change drastically and as it has proved in the last few years, India has caught up with the international technology pretty swiftly and we will be among the top content creators and consumers in the entertainment field, for sure.

Content versus Technology, what should be given relevance and why? Please share your views.
Content is the King and will be the King always. While technology can keep changing, if the focus on content is not strong enough, there is a huge waste of time and money by over-using technology. Yes, technology can hugely change the viewing experience. But content is always going to be a challenge to quench the appetite of the people in all ages.

What advice you would like to offer to aspiring creative people.
Hold on to your passion and find novel ways of telling stories to keep the world entertained. Never allow your passion to die due to the environment. Exploit the best technologies available at that time to make the viewing experience special. Never compromise the content for technology. Technology will follow your passion.

 

Indian animation, a huge force for the future

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Gaming and animation are two areas now that are seeing a high demand for talent. Not only are they very exciting and newer fields to work in but are also one of those few fields which are witnessing tremendous growth very quickly, thereby creating great career opportunities for trained and talented people.

What was more so relegated to the sidelines until a decade ago is now fast becoming the mainstream in film entertainment, television and of course the internet. That trend is changing now and how! Animation is fast becoming the hottest career to pursue. The young artists who once faced the criticism for being different and choosing a path not trodden by many, are now being seen as the torch bearers for taking the industry to a global level of recognition and hopefully awards.

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A few sketches from a story, done by one of our students.

The country’s animation brigade has made great strides in Hollywood (Life of Pi and Prometheus) and the bigwigs of the industry believe that this signals their arrival on the global stage in a small but significant way. Though they have been working for many Hollywood films for years, working on majority of the 3D conversion work, it is not until now that they have received their due.

With the growing demand for well-trained people, many animation studios and companies have come up in cities across the country, with Mumbai, Chennai, Bangalore, Hyderabad and Trivandrum becoming the hubs. Many of them are equipped with the latest technology to tackle the demands of services, be it 2D animation, 3D animation, storyboards, product demos, illustrations, logos, banners, portraits, caricatures or customized ones. Famous for their work in post-production and 3D content development, this field has high-paying jobs for many digital artists and other technical specialists.

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3D rendering of a robot, as imagined and done by one of our students.

Reasons why global entertainment firms are flocking to India are a many. It is because of the low costs (cost of animation production in India is one-fourth the cost of what it costs in the West). Not just that, India been the second largest entertainment industry in the world, our studios provide a large pool of high-quality software engineers who are familiar with and on par with the latest trends and technologies. Added advantages are that the English speaking workforce overcomes the language barrier.

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A few of the characters, in one of our students’ story.

To put things in perspective, here are some facts: India’s animation entertainment sector has experienced a major boom in the recent past, employing over 80,000 people, and the current size is estimated at US$ 247 million and expected to grow at 15-20% per annum. According to the latest report by NASSCOM the animation industry in India will grow at 22 percent every year. How is that to beat?!

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Imagination coming to life, in this student’s character lineup.

Many animation studios and production houses in the country are packed with work be it outsourced from abroad or in-house projects for the market at home. Which is why, the animation industry faces a talent crunch, and trained and talented people are the need of the hour.

The ice seems to have broken and the reach and popularity of animated content has crossed all barriers and is something that the larger audience is familiar with. This could be the best time to enter this industry!

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Doodle your way into the Animation Industry

After seeing the large number of applicants to AISFM’s Bachelor’s in Animation + VFX course, we had a quick chat with Vivek Pandey, Faculty for Animation, about what the course entails and what skills a student needs to possess to excel in it.

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