All about Toonpur Ka Superhero
Kireet Khurana animation director of Toonpur Ka Superhero, has a deep connection with animation. Being the son of the man who brought animation to India, Bhimsain Khurana; it was only obvious that he was to follow in his father's footsteps. He has directed a plethora of short films, animation series and Public Service films like, Rights From The Heart for UNICEF, Adventures of Chhota Birbal for Cartoon Network and Laadli' for the Children's Film Society of India. Kireet also founded 2nz animation, which boasts of doing over 400 AD films for leading brands in the country.
Bhimsain brought animation to India with, 'Ek Chidiya Anek Chidiya' which aired on the Doordarshan channel in the 70's. He is also a veteran of avant-garde parallel cinema who won an unprecedented 16 President's National Awards, and has directed and produced award-winning feature films like Gharaonda and Doooriyan.
What's an animation director? An animation director overlooks all technical and aesthetical aspects of the animation production. It's crucial that they posses the capabilities to infuse the animated characters with just the right amount of psychological and emotional depth that will appeal to audiences. They must posses a sound perception of animation principles, body mechanics, style and continuity.
In this exclusive 'People Behind the Scenes' series, brings to you a no holds barred conversation with animation director of Toonpur Ka Superhero, Kireet Khurana, on the film and the fate behind the Indian animation industry and the evils of animation institutes.
Going
back
to
the
roots,
how
did
you
begin
in
the
industry?
I
had
the
infrastructure
available
to
me
back
in
the
70's
and
80's,
where
I
actually
learnt
animation
through
my
father's
guidance.
In
early
1991,
I
went
to
Sheridan
College
in
Canada,
one
of
the
best
for
animation
filmmaking
in
the
world.
I
graduated
with
high
honors
in
'94
subsequently;
I
worked
with
the
Nation
film
board
of
Canada
on
a
couple
of
short
films
for
a
few
years.
My
short
films
have
won
5
President's
National
Awards
and
3
Int'l
Awards
besides
20
assorted
awards.
I
founded
2nz
animation
in
1996
and
so
far
we've
done
over
400
Ad
films
with
leading
brands
such
as
PepsiCo,
Kellogg,
Unilever,
Nestle
etc.
We've
also
worked
with
Ad
agencies
such
as,
O&M,
JWT,
Lowe,
and
Mudra
to
name
a
few.
Since I'm a filmmaker and I want to tell my story by directing feature films, in Jan 2007 we started work on Toonpur Ka Superhero me and my partner Raagi Bhatnaghar who's also the co-writer of the film, pitched the script to Ajay Devgn and he immediately agreed to do the film. The designs of the characters set and environments were all undertaken by my team. Filming didn't start until May 2008 since the principal actors weren't available to shoot the film. We finished the film in 2009 and its been in post production ever since. Currently we're almost through the Digital Intermediate (DI) process, in which the live action characters are color corrected to blend with the CGI backgrounds.
What
is
the
story
of
the
film?
Ajay
Devgn
plays
Aditya,
a
famous
actor
and
is
married
to
Priya
played
by
Kajol.
He
has
all
the
success
he
ever
wanted,
but
his
children
want
him
to
be
their
hero
not
just
on
screen,
but
in
reality.
That's
when
Aditya
finds
an
opportunity
to
become
his
children's
hero
where
he
somehow
lands
in
his
kids
favorite
cartoon
show,
where
he
must
work
with
the
Devtoons
the
good
guys
to
fight
the
bad
guys
the
Toonasurs.
Could
you
enlighten
us
with
the
production
pipeline
of
your
film
briefly?
How
long
did
it
take
to
piece
it
together?
The
entire
pre-production
phase
kicked
off,
and
completed
in
my
studio.
Pre-production
consisted
of
Storyboards,
Layouts,
environments,
prop
and
character
designs
and
sorting
out
the
color
keys.
We've
also
done
a
bit
of
the
animation;
we
set
the
bible
and
the
tone
for
the
film.
This
planning
and
visualization
phase
lasted
about
eight
months.
Production
process
was
simple,
since
we
meticulously
planned
out
the
film
in
pre-production.
When
Ajay
came
to
the
chroma
sets
to
shoot
the
film,
we
would
share
the
storyboards
with
him.
We
would
educate
them
with
the
2D
environment
and
how
they
would
look
in
that
space
for
their
reference.
Additionally, we would take the actors through the entire 3D animation blocking phase of the scene; this gives the actors a sense of how they'd look in the shots. Although in the film, locations keep changing, the actors are still present on the chroma sets. With this the actors get a glimpse and realize the gravity of the situation of the scene before they start performing for the shot. We shot the principal actors on chroma backgrounds and took those shots and edited the whole film, where we cleaned out the green screen backgrounds and fused the CGI elements that were to be used for the scenes. Overall it took two and half years to complete.
As
a
director,
what
was
the
brief
that
you
gave
the
artists
in
regards
to
modeling
the
characters?
I'm
an
artist
myself
and
I've
learnt
animation
the
classical
way.
I've
studied
anatomy
for
years;
my
team
designed
the
characters
under
my
supervision.
The
idea
was
to
get
the
anatomy
of
the
animation
characters
as
right
as
possible.
If
you're
from
the
animation
industry,
you
and
I
both
know
that
there
are
hidden
gaps
that
come
along
with
such
projects.
This
is
mainly
because,
they
aren't
trained
artists
sitting
on
the
machines
they're
technicians.
My job was to ensure that these gaps are filled in as much as possible, I have to ensure that the anatomy is right, the facial rigs are flexible, there are strong line of action of the characters poses, to make sure that the rigs offer enough suppleness to achieve animation principles such as squash and stretch which is used in cartoon type animation.
What
motivated
you
in
choosing
'the
classical
style
of
animation'
for
your
film?
Toonpur
has
a
lot
of
cartoony
snappy
timing
to
it,
It's
about
jaw
dropping,
eye
popping,
body
breaking
in
parts
with
a
loony
timing
to
it.
Therefore
we
chose
a
classical
animation
style
for
the
3D
film.
What
do
you
think
studios
and
animators
lack
in
our
country?
The
first
thing
that
I
notice
is
that
when
I've
made
something,
people
ask
me
what
softwares
have
I
used.
This
I
think
is
the
biggest
fallacy
and
misconception
people
have,
because
the
computer
just
offers
an
extension
of
your
mind's
eye.
In
fact,
it
places
greater
creative
challenges,
iterations
and
good
quality.
The
demand
gets
more
when
the
computer
offers
you
more.
I
always
emphasize
on
focusing
on
the
art
and
the
creative
processes
of
the
work.
The
biggest
factor
that
I
feel
that
we
need
to
surmount
here
is
that,
most
of
the
people
go
through
software
training
institutes
and
there
are
no
laws
to
stop
them.
The
government
should
formulate
laws
to
stop
them
from
marketing
their
institutes
as
animation
training
institutes
because
they're
software
training
institutes.
They
mainly
talk
about
the
technicalities
of
the
software.
For
example,
Photoshop
can
be
learnt
in
2
weeks,
but
to
learn
how
to
paint
takes
a
lifetime.
I feel people who have grown from JJ school of arts or Raheja who've done courses that extend up to five years should be taught Photoshop that would have a greater impact aesthetically and technically. Animation is an expensive medium and in India our finances are restricted in making expensive animated films. With the turnovers that we're witnessing we're caught up with very limited bandwidth with which we have to make a movie. The least we could do is to hope that we recover what we've invested in with half million dollars, this is where things are coming from.
Where
do
you
think
we
stand
on
the
global
animation
map
today,
do
you
see
India
churning
out
quality
like
Pixar
animation?
India
has
a
strong
hub
as
far
as
outsourcing
is
concerned,
it's
not
like
we
don't
have
creative
talent
here.
The
animation
market
here
in
India
is
almost
non-existent
because,
we're
not
able
to
portray
and
tell
our
own
stories
efficiently.
We
lack
the
ability
to
conceptualize
and
visualize
stories
here
therefore;
we
need
a
lot
of
creative
help
from
overseas.
It's
a
matter
of
projects
going
wrong
in
this
country,
but
internationally
DreamWorks
is
said
to
be
executing
its
next
movie
in
India.
As
far
as
quality
is
concerned,
good
quality
work
is
already
happening,
a
large
chuck
of
work
for
The
Golden
Compass
was
done
at
R&H
studios
here
in
India
as
well
as
Night
in
the
Museum.
What
makes
a
good
animated
film
according
to
you?
The
basis
of
any
film
has
to
have
a
great
story,
which
is
the
most
important
element.
The
film
will
succeed
even
if
its
animation
is
average.
There
should
be
a
strong
emotional
connect
with
the
audiences;
they
have
to
empathize
with
the
character.
This
is
essentially
the
ingredients
that
make
for
a
good
film.
The
audiences
will
be
forgiving
even
if
you
falter
in
the
execution
because
they
engage
with
the
story.
But
if
the
story
is
not
engaging
enough
and
the
film
has
great
animation,
success
will
fail
to
deliver
it.
What's
your
take
on
Indian
animation
filmmaking
and
the
mythological
trend
that's
occurring
this
year?
My
take
is
simple,
there
are
no
bad
stories
only
bad
story
telling.
Someone
asked
me
to
do
a
mythological
film
a
while
back,
I
refused
only
because
I
would
like
to
have
my
own
story.
Ramayana
and
Mahabharata
are
one
of
the
most
brilliant
stories
ever
told
in
the
history
of
mankind.
I
feel
you'd
want
to
watch
Arjuna
the
film
because
the
promos
are
exciting.
This
is
purely
someone's
interpretation
of
the
film,
the
story
is
the
same
but
the
storytelling
has
been
changed
completely.
In Ramayana and My Friend Ganesha 3, I thought the storytelling procedure was weak when it comes to facial animation. I see that we stumble upon this recurring problem every time. For the films we've added a very flexible facial rig, so our characters are quite emotive and are pretty extensive. To get the expressions right we've meticulously planned out the facial rigs.
We do mythological films because I believe that, producers don't want to take risks by introducing new characters. We are conservative in commissioning films that are unique in it, this is what I assume. A producer's angle takes over this decision.
A
message
for
aspiring
filmmakers
and
animators....
Focus
on
art,
creativity,
on
story
telling,
filmmaking;
you
should
get
involved
in
the
whole
process
no
matter
what
you
specialize
in,
even
though
you're
involved
in
a
miniscule
process
of
a
film.
One
should
think
about
the
scheme
of
things
and
where
would
certain
assets
fit
in
a
film,
in
terms
of
the
story
and
visualization.
Whatever
you're
doing
is
going
to
be
a
part
of
a
larger
picture,
always
keep
that
picture
in
your
mind.
If
you
understand
the
story
you
understand
the
performance
and
the
nuances
of
the
story,
this
improves
an
artist
and
an
individual.