With every aspect of life embracing the ‘new normal’ in these Coronavirus times, Bollywood filmmakers say that they will have to rely more on VFX in their narratives
Rachana Dubey (BOMBAY TIMES; July 12, 2020)

Over the last decade, VFX (visual effects) has played an increasingly prominent role in Bollywood films. And, in the current normal that we are all living in, we will probably see filmmakers leaning more towards VFX to bring the desired impact in their movies. In keeping with safety norms, filmmakers are chalking out ways to involve fewer people on the sets of a film, thus opening more doors for VFX teams to play a bigger role in the narrative, especially when it comes to sequences involving outdoor locations, elaborate dance numbers, action scenes and large crowds. In a recent chat with BT, filmmaker R Balki said, “I think VFX technology will play a huge role in our cinema now. It’s going to explode in this country like it never has before. So, I think newer ways of designing things in our films… in fact, technology is going to play a huge part in filmmaking right now.”

‘NOW, WE CAN TRY TO CREATE INTIMATE SCENES USING TECHNOLOGY’
“This period will throw up a lot of innovative ideas for filmmaking using VFX. In fact, it will make visible changes in the way TV, gaming and advertising industries function. With precise planning, VFX can be a tool for filmmakers to make the shooting process more convenient. Crowd scenes were always a part of VFX, and now, we can try to create intimate scenes using technology. But I doubt if a full-scale CGI (Computer-Generated Imagery) will be worth the effort in most cases, as it adds to the expense,” said Naveen Paul (co-founder and VFX supervisor at NYVFX waala), who has worked on the special effects for movies like Tanhaji: The Unsung Warrior.

Keitan Yadav (COO, Red Chillies VFX) believes that the future of cinema lies in virtual production. He cited examples of films like The Lion King and The Mandalorian series, which were shot using virtual production technology. It was also employed for parts of the Shah Rukh Khan-starrer, Zero. He shared, “Filmmakers can use this technology at the pre-production stage, for planning and organising the shoot schedule. This will reduce the number of days required for shoots, save cost and ensure smooth execution of shoots. It will reduce VFX work and improve quality within the pre-decided budget.”

Harry Hingorani (VFX supervisor and creative officer of the company) added, “VFX companies are the ones, who will be able to help filmmakers adapt to these changes. We recently got a call from a producer, saying that he was half way through the film before the lockdown. They have 50-plus days of shoot pending, including a big sequence that requires them to go out of Mumbai. Since they can’t do that, we are getting into virtual production with them.”

‘IT’S EXTREMELY SHORT-SIGHTED TO THINK OF VFX AS A SOLUTION’
Producer Nikkhil Advani,whose films Bell Bottom and Satyameva Jayate 2 will go on floors in the weeks to come, said, “It’s extremely short-sighted to see VFX as a solution for shoots post lockdown. You will still have to send a unit to the location to take plates. Also, if it needs to be done correctly, it means matching light conditions, camera angles and depth of field. In India, we have constantly used VFX as a tool for correction, while it actually needs to be used for creation. If VFX has to be an option to shoot at interesting locations and scenes with crowds, it will become imperative to give more time to prep for each of those sequences.”


WITHOUT VFX, HOW DO I SHOW JAM-PACKED STADIUMS, ASKS RAHUL DHOLAKIA
Filmmaker Rahul Dholakia, who will be helming Taapsee Pannu’s Shabaash Mithu, the biopic on cricketer Mithali Raj, shared, “VFX will become very important for me, because, without it, how do I show jam-packed stadiums? Also, we may not be able to go to various locations because of revised budgets and other constraints; so, VFX will have to help us. And as far as the narrative is concerned, I don’t think VFX is the only player; rewriting screenplays to adhere to shooting guidelines will play an important role.”

Producer Boney Kapoor agreed, “VFX was already playing a vital role, and now, its importance will increase further. In our film Maidaan, we have to create a certain ‘period’ as well as different football stadiums. So, VFX will play a substantial role. I do see it becoming a stronger part of the narrative if it helps save cost and enhances quality. But I know that live action and VFX cannot replace each other beyond a certain level. So, we will use VFX as much as possible, especially in times of COVID-19, because the safety of cast and crew is most important.”

Voicing an important concern, he added, “In terms of investment and recovery, I believe that VFX studios will also have to rethink their pricing. If they want to get the bulk of the work, they will have to deliver on pricing as well as quality, as we are all interdependent. There are many countries that offer rebates and incentives for post-production, and that’s something that can be a huge opportunity for Indian post-production industry as well.”

Till a few years ago, visual effects ( VFX) was used largely by Hollywood and a handful of big- budget Hindi films. But after the recession, 2013 saw a steady rise of VFX in Bollywood. SHAKTI SHETTY tries to understand why it has now become the ultimate technology for all kinds of Hindi movies
Shakti Shetty (MID-DAY; December 22, 2013)

It's easier to identify computer-generated imagery (CGI) when a movie belongs to the fantasy genre. But then, what about those scenes in a film which appear totally natural, but aren’t? For example, in Aashiqui 2 , actor Shraddha Kapoor is shown facing a roaring crowd at a concert. During the actual shoot, the whole stadium was empty and she was standing alone in front of the microphone.

Similarly, the bridge scene in Gori Tere Pyaar Mein shows a gently flowing river when, in reality, the water body was far from enchanting. Ditto with the sea adjoining Diu Fort into which the three boys from Kai Po Che jumped. It appeared greener than it actually was.

Nothing is what it seems in cinema. If one digs a bit deeper, the deception is far more intriguing.

And this mystique has a lot to do with visual FX (visual effects or VFX, as it’s called) generally applied in the post- production phase. Forget technologically advanced endeavours like Avatar or The Hobbit , even low-budget movies owe a lot to the magic of VFX nowadays. In layman terms, it has become the ultimate Photoshop for moving pictures.

There’s hardly any film that rolls out of Bollywood without being subjected to VFX. In Bollywood, except for rarities like RA.One or the more recent Krrish 3, VFX is rarely a design element in the narrative process. So the economics boils down to necessity and thus provides scope for special effects on a smaller but broader scale.

Before VFX came along, Digital Intermediate (DI) was the big thing. However, the general perception about that motion picture finishing process was that it was gimmicky. But that was then. As of now DI has become a standard format: every movie goes through a DI process.

In contrast, VFX requires allocating funds smartly. Besides, why would a cinematographer shoot in the night for three weeks and increase the production cost when he or she can use visual effects to get the same effects without compromising on any aspect? Prime Focus, one of the key players in the field, makes life easier during a time-crunch. This year, the company played a significant role in successful films such as Aashiqui 2, Kai Po Che and Yeh Jawaani Hai Deewani. Currently working on Salman Khan’s Jai Ho, its co- founder and chief creative director Merzin Tavaria throws light on the rise of visual effects with respect to cost. “In Bollywood, 2008- 2009 saw some movies such as Ghajini, Raaz 2 and Chandni Chowk to China embrace VFX like never before. But it fizzled out with the global recession. As a result, smaller movies such as Aamir and Dev D started to bloom. For VFX, it was an interesting trend because we later noticed that the ratio comparison between small as well as big- budget movies is almost the same.” Compared to Hindi filmmakers, their southern counterparts are more innovative vis-à-vis VFX. For them, it is a creative tool for innovative storytelling as evident from blockbusters such as Robot, Eega (Makkhi) and Magadheera. Turns out they have not let their imagination suffer due to budgetary restrictions.

But money isn’t always the issue. Approach is.

Vamsi Ayyagari, general manager of Moving Picture Company, points out the misconception. “It is a mistaken belief that VFX is expensive. Yes, it may comprise 20 per cent or even 50 per cent of a movie budget but in such cases, the film can’t be made without VFX. Moreover, it saves money that otherwise will be spent on other elements of filmmaking,” says the Bangalore-based professional who has earlier worked on Koi Mil Gaya, Aladin and Where the Wild Things Are. Both filmmaking and VFX, are creative processes that require streamlining and foresight.

Reliance MediaWorks knows a thing or two about both. It recently delivered a whopping 750-plus shots for the Imran Khan-Kareena Kapoor Khan-starrer Gori Tere Pyaar Mein and was in a position to help shape the overall aesthetics of the film set in a rustic part of Gujarat. The aforementioned bridge forms a crucial element in the storyline. The structure was a textured computer-generated representation of a real bridge. It had to be highly detailed as a large number of close-up shots were supposed to be filmed on the bridge. For the river, various shots of a lake were taken which were then given depth and magnitude using the VFX technology.
Venkatesh Roddam, CEO of Reliance MediaWorks, adds, “Most of the VFX in the film is not even visible. However, the elements that have been created as part of the VFX for the movie play an essential role in the plot, thereby making the task of handling the VFX that much more creatively challenging and significant.” For the film’s director Punit Malhotra, the marriage between the storyline and the technology available at hand mattered the most. “Neither does the storyline indicate special effects nor is that highlighted in the communication. So, the transition of the VFX into the frames had to be seamless and almost invisible for the viewer.”

Alert: Bumps ahead

When there are so many advantages of a technology, wouldn’t there be some demerits as well? Tavaria affirms and belts out a few. “VFX is a cinematic trick so we don’t like to reveal what we do. But at the same time, its strength has become its weakness. We like to exceed expectations but sometimes, there’s no need to alter anything. Also, it’s often misunderstood that visual effects is a part of post-production when it’s actually a part of filmmaking in general. VFX ought to come in at the beginning of the film when the script of the movie is being penned, which is not the case yet,” he elaborates.

Ayyagari, too, sheds light on what needs to improve with respect to global competition. He maintains that VFX has always been a low- margin business and excessive undercutting has stunted the industry’s growth. “Also, Indian companies need to work on design, quality and execution. In future, technological innovations such as Performance Capture and Cloud Computing will be differentiators and such tools will help tell bigger stories. However, the domestic Indian VFX Industry has to start respecting itself.”

What the future holds According to Keitan Yadav, CEO of Red Chillies VFX and Harry Hingorani, creative director, VFX will only see growth in Hindi film industry. He explains, “One of the main reasons for increasing use of VFX in Bollywood is that writers, producers and directors are increasingly touching upon new genre and stories which are impossible to make without extensive involvement of VFX professionals. Krrish 3 is a testimony to the increasing use of VFX in Bollywood where almost every shot in the film utilised VFX to make the movie visually stunning and appealing. With the help of a talent pool, at a fraction of Hollywood budgets, Bollywood is bound to use it extensively.” Pankaj Khandpur, creative director of Tata Elxsi — Visual Computing Labs, echoes similar sentiments. “Over the last few years, one change that we have observed is the mindset of filmmakers and their openness to experiment with new VFX technology. They are now writing stories that integrate VFX in the creative process from the script stage itself. What also helps is that we get involved in the project right from the script stage. This has enabled us to use some of the most cutting- edge and path-breaking VFX technology for our recent projects such as Dhoom 3, Bhaag Milkha Bhaag and Ek Tha Tiger ,” he says.

Despite the endless possibilities ahead, the rise of VFX is a noteworthy change in Hindi cinema.

But going by the experts in the field, it requires the combined mastery of mind and art — and musn’t be treated like just another step in the assembly line of filmmaking.