“We Want To Rewrite The Books Of VFX”

“We Want To Rewrite The Books Of VFX”

FPJ BureauUpdated: Saturday, June 01, 2019, 04:20 AM IST
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Impressed By The

 In ‘Krrish 3’? Keitan Yadav, Chief Operative Officer Red Chillies VFX Along With Haresh Hingorani, Says Their Next Project Will Be Path-Breaking. Pratishtha Malhotra Can’t Wait!

VFX is one of the most advanced technologies to be used in films. Do you think we are ready to stand shoulder to shoulder with the West in this regard?

As far as technology goes, we have always been at par. The hardware, software, storage devices, machines, most of them are the same if we talk about the West. The difference lies in who is sitting in front of the machine and the kind of work that a film or a project demands. This has always been the gap between the West and us.

Do we lack in budgets? The budget of our entire film would perhaps be the budget of a sequence in a film of the stature of ‘Iron Man’…

It is not only the budget but there are many factors such as the exposure of the filmmaker and the understanding of VFX which can be best utilised for the betterment of the project. Planning way in advance can give us better shots, better output, faster shots.

Basically it is the involvement at the pre-production stage, while the film is being shot and then later on when the post production starts. One really needs to know what the story is, whether visual effects are telling the story or playing a supporting role.

 Of course the budgets in the West are higher because the cost of implementing VFX is higher too; here the cost is much lower because of the way the country is and the salary structure.

We were lucky to have experience on ‘Ra.One’ and ‘Krrish 3’; these were two massive projects where our artists executed a huge project. While in other films in India there are just 200 to 300 shots done, ‘Ra.One’ had 3500 VFX shots and ‘Krrish 3’ had 2200 VFX shots. These films had VFX as the core.

Red Chillies VFX has been going places since its inception….

My colleague Harry (HareshHingorani), Shah Rukh Khan and I are actually the founding members of Red Chillies VFX; we started the company in April 2006. Before that we had done ‘Main Hoon Na’ and ‘Paheli’. Every film that we have done has achieved a certain benchmark in terms of technology and the standard that we have set.

Like you know in ‘Main Hoon Na’, the technology at that time was different and the problem was that the when the VFX shots appeared they would be in a different colour from the actual film. ‘Paheli’ required a different kind of approach, the double role of Shah Rukh and many other things; it was the first of its kind in India.

Then came ‘Don’, ‘Dostana’, ‘Jhoom Barabar Jhoom’, ‘Chak  De India’. You know, in ‘Chak  De India’, it was the first time that the whole stadium was being CGI-ed, we almost shot in an empty stadium. Hockey balls were replaced to make it look authentic, so many things were done…again it was a first in India. If you see ‘Don’, the shot where Shah Rukh is carrying himself is not a duplicate. It is him carrying himself. We wanted the entire body to look exactly the same. We could have easily done a head replacement or used a duplicate but we didn’t want to.  We spent three days just getting that one shot right. In ‘Om Shanti Om’, Deepika dancing with the late Sunil Dutt and Rajesh Khanna, is also one of the firsts. There were 400 of us working in ‘Ra.One’. In ‘Dostana’, we made Priyanka’s house in Miami look gorgeous but it is actually shot in Goregaon in Mumbai! These were the things which had never been done in India.

Which technically sound films are you excited about in the year to come?

Like we have always set a benchmark, we are right now working on a project which would be path breaking in terms of visual effects. What we are trying to achieve is something which would rewrite the books of VFX.

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