Go behind the scenes of Toonpur Ka Superrhero with Director Kireet Khurana to understand the process from script to screen, which includes – script, screenplay, character design, live action, compositing, vfx and direction.
Date: 14th January 2011 Time: 1 pm to 7 pm Venue: Whistling Woods International, Film City, Goregaon (East), Mumbai
Spot registrations will open at the venue from 12:30 pm, subject to availability.
– FREE entry for all Members.
– Non-members can register and collect a Day Pass (temporary membership) –
Day Pass: For Students – Rs.100/- and For Professionals – Rs.200/-
Terms & Conditions:
1. Limited Seats, All Entry on First Come Basis.
2. Gates Close 30 mins before session starts. No entry for late arrivals.
3. Rights of Admission Reserved. 4. Student ID / TASI Membership Card (if issued) is mandatory.
5. In case you have not collected your TASI member card, please carry proof of payment (receipt / bank deposit slip).
6. TASI reserves the right to re-schedule, cancel or modify the program without prior notice.
Speaker: Vivek Ram
Date: 3rd April, 2010 Time: 1 pm to 6 pm Venue:Whistling Woods International, Film City, Goregaon (East), Mumbai
ART IN ANIMATION – Session Report
by Tanvi Mestry
Yet another exciting session with one of the most skilled artists in the fraternity, Mr. Vivek Ram, was held on the 3rd of April at the Whistling Woods Internationals’ campus. Vivek shared his experience of many years working as a modeling lead for some of the top studios across India, and began the session by drawing out some of the aesthetic nuances that go into bringing a design to life in a CG environment.
He kept the session quite interactive to which the audience responded very positively. He gave a gist of the responsibilities an artist faces while designing, and started off by discussing the crucial role that is played by the Art Directors, VFX supervisors and designers in getting the best out of every single frame of a film. Once the director sets up the mood for a scene, it is then completely left to these artists and what makes their job even more challenging is that they must visualise all of it in a digital world before they can go into actual production. This is where the visualization talent and understanding of the artist can play a key role in pre-production, increasing the scope of improvising every scene and thus optimizing the production duration.
Moving towards a few technical aspects of setting up a model in 3D, Vivek explained the fundamentals of planes as building blocks in the formation of the basic recognizable shape of any object. He elaborated this by starting with a basic cube geometry and breaking down its planes further to take the shape of a human head. Though at a very initial stage, these planes are the foremost aesthetics one needs to understand before moving into detailing. The second important aesthetics, as he marked, are the ‘opposing curves’ on the geometry. Though these curves are perpendicular on a mesh, they are not symmetric, so in such a case, these opposing curves create believable deformations when the object/character is animated.
One aspect was discussed throughout the session – the importance of silhouettes. He underlined the significance of clear silhouettes in recognizing a character regardless of its gestures. The human brain registers these silhouettes and even a few subtle changes in them can make the character lose its identity.
Later the session covered the aesthetics of detailing, anatomy and lighting. Emphasizing on detailing of a character, Vivek suggested that one must go into detailing an object/character only after understanding how close it would get to the camera in a scene. He showed with a few examples how anatomy plays an equal and significant role in both, realistic as well as toon characters. And when it comes to lighting, selection of background colors is one important aspect because the tints and shades of these colors change the perception of the viewer. Sketching an example with a simple matte painting, he showed how, regardless of what color is chosen, it’s their tonal value that reflects the perception of depth, still retaining the volume of the object even when it is desaturated. He suggested that a good understanding of photography and the practice of lighting through matte painting is a must if one seeks to opt for lighting as a profession. Getting final results from 3D animation is quite a lengthy process, therefore in production, concept art is heavily dependent on these techniques as they are quicker, although not easy, and get the job done, until the final approval.
Moving on with light and recounting once more a few aspects of the ‘building blocks’, Vivek explained the importance of Specular breaks on an object mesh. “Details are broken speculars”, he suggested. To highlight his point, he put up a case study of few of his brilliant 3D models.
Covering all the nuances of the topic for the session was not possible given the time limit of 5 hours, but yet Vivek skillfully managed to give a detailed insight into the various aspects that lay the foundation of aesthetics and art in animation.
About Vivek Ram: Vivek began his career 9 years ago as a freelancer working his way through to doing full assets for production and games. He has worked with Rhythm and Hues as a Senior Digital Artist for a few years before moving on to the Dreamworks Dedicated Unit as a Modeling Lead, where he wore multiple hats during his tenure. He currently works as an independent consultant, again playing the role of VFX Supervisor or Art Director on both feature and game projects.
Speakers: VG Samant, Ram Mohan, Bhimsen Khurana Date: 23 Jan, 2010 Time: 2pm to 6 pm Venue: Película Auditorium, Whistling Woods Internacional, Film City, Goregaon (E), Mumbai
A trip down memory lane of Indian Animation.
On 23rd Jan, TASI conducted one of its most sought after session –Indian Animation Retrospective at Whistling Woods Internationals’ sprawling campus. The journey into time came alive when the pioneering stalwarts themselves enthused a 400+ strong audience with their anecdotes, trials and tribulations in trying to kick-start the Indian animation industry during the late 50s.
The Indian Animation Retrospective package –the first of its kind, curated by TASI in consultation with the animation community, was presented by the septuagenarian VG. Samant (Director of the indelible animation short “Tree of Unity” -1972 and the first commercial blockbuster feature “Hanuman”) and Mr. Bhimsain (Director of the historic animation short “EK Anek Ekta” and many other award-winning short films). The 3rd pioneer –Ram Mohan could not be present due to a sudden emergency development on the home front. He was sorely missed on this momentous occasion.
The incubation of Indian animation started with the formation of the “Cartoon Film Unit” at the Government organisation of Films Division in the mid-50s. For the first time, Indian artists got an opportunity to learn the art of animation under the tutelage of Claire Weeks, a Disney animator who came to India under the INDO-US Cultural exchange program. The idea to initiate such an exchange to develop animation in India was mooted by none other than the then PM Jawaharlal Nehru during his visit to Disney Studios. As a direct result of Claire Weeks’ training, the short film “Banyan Deer” was produced in 1957 in India.
The Journey continues to showcase some of Pramod Pati’s stop-motion films. Pramod Pati was a great experimenter, an inspiration as the head of the Films Division in the 60s. In the early 70s short films like “Ek Anek Ekta”, “Swimmy” and “Tree of Unity” became etched in the Indian psyche due to their high exposure on the only available state run television service -Doordarshan. The enthralled and intrigued audience was taken through the entire journey as the veterans spoke about their early days at Films Division, their problems, their undying passion and underlined their determination to succeed despite heavy odds.
The retrospective journey ends in 1995 with Shilpa Ranade’s award-winning animation short “Mani’s dying” which signaled the beginning of a new era.
Each film was followed by a short discourse by Samant Sir and Bhimsain Sir that brought to light some very interesting behind the scene developments. These first hand accounts of how the films were conceptualized, financed and created including techniques used with and tips and tricks considered path breaking at the time, were most interesting. The one common fact that came to light was that all these people made their films because they loved the medium, still have the same passion and craving for working in the medium and never let monetary considerations dictate their approach.
Reiterating his passion and commitment, VG Samant implored the new generation to look at this medium as an art form, live it, breathe it, love it and practice it with determination and diligence. ‘I am always there for you for whatever help and guidance you need’. Even at this age it was amazing to see him multi-tasking. He came to the TASI session and also had a function at his training institute on the same day.
Senior animator director Mehul Virani (Crest Animation) in the audience inquired as to what was the motivation for these veterans way back in the 50s, especially when the generation today is only concerned about how much money their films will make and how they can capitalise on their creation, Bhimsainji answered, money was and is important, but never became the driver, ‘we never cared about whether our films would make money or not. What was important was that we completed the film and got the audiences to see it. That remains as intoxicating today as it was 40 years ago’. He urged gen next to imbibe expose themselves to other creative art forms as well. ‘Being a student of classical music has immensely helped me in my understanding of the film genre. I am able to practically see the edit points of my film at the conceptualisation stage. Understanding and love of music is an invaluable asset to any animation film maker’, he explained.
The early contribution by the pioneers set up ground for the unprecedented growth of the Industry since the mid-90s. This session was a homage to the contribution of these Gurus. It is a known fact that these three stalwarts have been responsible for mentoring almost all of the leaders of their next generation. This session will be remembered for a long time by all those in attendance.
TASI announced its future sessions for the coming months at the end of the event and requested all those present to keep an check on the website for details that will be updated soon.
So you want to be an animator and want to join the billion dollar industry? Come meet the veterans who started it all. With a cumulative 120 years of practical work experience among them, it doesn’t get any bigger than this.
Meet Bhimsain, Ram Mohan and V G Samant – the stalwarts in an exclusive one-on-one as the pioneers of Indian Animation take you through a journey from the beginning of time in Indian Animation to the present.
A candid chat with the Gurus on where we were, where we are and where we’re headed. A no holds barred dialogue on what animation enthusiasts should do to make a career for themselves.
Presenting a retrospective of Indian Animation for the first time ever. Over 40 years of rare films from various archives will be shown with a commentary on their history, little known facts and amusing behind the scene developments.
A rare once in a lifetime experience, definitely not one to be missed.
Date: 23rd Jan. 2010 Time: 2 pm to 6 pm Venue: Pelicula Auditorium, Whistling Woods International, Film City, Goregaon (East), MUMBAI