Planning with VFX in mind makes your film look good: Anish Mulani
A digital eraser has emerged in the world of reel to blur, and sometimes, completely rub out, the line between realism and fantasy. VFX can build elaborate scenes over skeletal props; it can transport geographical boundaries and can act as a time machine zooming into forgotten eras.The latest triumph of the VFX has been Dibakar Banerjee’s Detective Byomkesh Bakshy produced by Yash Raj Films. Banerjee fed painstaking research about Kolkata in the ’40s to the VFX team for their computers to recreate the city from nearly 70 years ago.
The VFX player behind the fantastic scenes in Byomkesh Bakshy is Prana Studios from Hollywood, which has now sniffed the potential of VFX in Bollywood films. While shooting on Croma is not new, the art of finishing and making something look absolutely real is what brings Anish Mulani, head of Prana Studios, into the picture. Known for their work in Hollywood for movies like Transformers: Dark of the Moon, Tron and Life of Pi, the studio is spreading its wings in India and looking forward to the release of Bombay Velvet.
How did Prana Studios get involved working with Byomkesh Bakshy?
The process of VFX started around one and a half years ago, when we met with Dirbarker and Byomkesh’s production team. After the initial discussion on the film and the requirements, we set up goals for VFX; our primary goal was to create invisible VFX – we agreed that VFX should be done so seamlessly that when audience is seeing the movie they feel that there are transported to the era. The film had many exterior Kolkatta shots that were shot against the green and the city was created in the VFX. If you see the film, you would agree that we successfully achieved that! In fact, not only audiences but also the film critics, who praised about how authentically Kolkatta was built in the film, and the look of the film – didn’t even mention VFX in their reviews. I would say this was the best compliment to our work. Second main goal was to do digital crowds, which blends with the real humans – something that we achieved successfully in the film as well. When we met, Dibakar’s team had been researching the film for over 6 months and a lot of research had already been done. We also did our own research in a short period, which really impressed Dibakar on how we approached creating the period. As a Director, Dibakar is very particular about the details that go into each shot. Be it the texture or dent in a car, or how the tyre weathered. This is exactly how we approached the film. Since this was a period film, many areas needed to have crowd to show the busy streets. Using our proprietary crowd system we generated characters of the era with authentic clothes. Dibakar was pleased with the initial presentation and the possibilities that could be achieved. This is how our journey started with Dibakar. His concerns about achieving the look he wanted were put to rest at the beginning. As we started to work on shots, he got more confident and started to trust our team, in achieving his vision and the journey started.
BEFORE
AFTER
BEFORE
AFTER
How much of a void you think has been filled in the Hindi film industry?
In terms of void we definitely bring a lot to the table. From photo real animals, creatures to digital crowd, fire, and water, not just regular VFX but doing a gamut of things that many filmmakers feel cannot be done in India. This opens up a range of possibilities for filmmakers. VFX not only makes storytelling possible, but it also helps reduce the cost if planned rightly. We have been doing VFX for the US market; and have produced VFX for Tron, Thor, Transformers, Life of Pi (as Rhythm and Hues) and numerous other movies and we felt it was time to bring the expertise for the Indian movies. Indian audiences now have access to the Hollywood movies and are getting mature, so when you put something out, people know if it looks good or not. The filmmakers also started to recognize this and are ready to invest their efforts towards creating good visual content and open to exploring new processes and ways of making films. That’s how we met with directors such as Dibaker, Anurag Kashyup, R. Balki, Nitish Tiwari and Rakeysh Mehra whom we are working with. Along the way, apart from Byomkesh Bakshy, we also worked with R Balki for Shamitabh, and Nitish Tiwari on Bhootnath Returns, and Anurag Kashyup for Bombay Velvet.
Did we lack infrastructure in the past?
I would say India always had the infrastructure but it was the approach and the local talent that is experienced to do international quality - is making a huge difference. Challenges that Prana faces in the way both Hollywood and Bollywood functions, while making a film a certain amount of chaos remains, not because of organization vs non-organization. Whenever you are trying to do something intense or passionate or breaking the boundaries, it will generate chaos. And mostly when you make VFX movies, you are trying to go one or two notches above what’s already been done. When you try to do that, you are reinventing yourself. Hollywood surely spends a lot more time in Planning and R&D as well as lot more budget as compared to movies that we make in India – I am not saying this is the case with all the movies, I think there was a lot planning done on Byomkesh and other movies that we are working on but in general still VFX is sometimes thought about after the shoot of the film while it should be thought through at the initial stage. Planning from the beginning with VFX in mind not only makes your film look good but also reduces your cost. When we made the film with Dibakar, we planned each and every shot that involved VFX. Pre-planning the VFX shots also makes the process of shooting rather comfortable and secure.
Filmmakers may still opt for going to Switzerland than spend in VFX? Is it the lack of awareness among filmmakers about its potential?
I doubt one would want to replace going to Switzerland by doing VFX. But to a large extent it can be done in the studio. I won’t say the producers here are not open I think it’s about the awareness. They are not aware of the possibility of VFX. And even if they are, they do not know how to approach it. It’s the fear of the unknown and thus not wanting to leave ones comfort zone. But it would change or is changing as we speak.
Can a filmmaker walk-in to Prana studious and walk out with a film?
Well it depends on the film. The answer to that question is yes; it will depend entirely on the script. Let’s take Life of Pi, Rhythm and Hues (that Prana owns) did the VFX for Life of Pi, entire sea sequence was shot in a big swimming pool and the only thing that is real in those sequences is the boy and the boat. While watching the film, I don’t think for even a moment anyone would think that sea is not real or tiger was done in CG.
Which are the Hindi movies according to you are trend changers in terms of VFX?
Robot, Barfi, Chak De India, Krrish, had some good VFX. Movies in South use a lot more VFX as compared to Hindi films. Eega by Rajamouli was very well executed. Though in terms of quality, overall Indian films have a long way to go as compared to the Hollywood.
After doing Byomkesh and Bombay Velvet, do you think producers will dedicate a budget to spend for VFX?
They are starting to open up, and if we want something of good quality, we have to spend the money. While this seem to be justified for actual sets and actor’s fees, its still not fully accepted that VFX is as important, if not more. It all depends on the kind of story you want to tell. If your story needs it you are going to spend. Like Byomkesh or Bombay Velvet, it needs it because you are creating bygone era or Ra.One or Krrish, which are super hero films.
Hindi film industry may be wary to invest because they are looking at recovery at the box office. So you think VFX is an option to bring down the budget?
Make your post pre. Like every management school teaches, you start with the end. So when you use that approach in filmmaking, then you are secure in terms of the look of the film and the budget. If cutting cost is your priority, it gives you options to do that too.
Last 10 years, we have seen only few VFX based movies? Will there be more and more film making use of the technology?
I think yes, last 10 years may have fewer movies with VFX but in the last 3 years many of the movies have been using VFX – we can see the trend is upward and it will continue to go up, as filmmakers feel comfortable with VFX.
Will you take up everything that comes your way?
Not really, that’s not how we would approach. It’s also not about working with bigger movies only but the approach would be to work with good filmmakers and the right kind of stories.
