How did you get into the profession of special effects?
I have been involved in the visual effects for the past 13 years and started my career in the US working for some of the top VFX Supervisors and Studios. After coming to India, I joined Crest Animation in India, where I set up the 3D pipeline and delivered one of the first 3D Animated series to be delivered by an Indian company. In 2003, I decided to move back to visual effects. About four years back, I got an opportunity to work for EYEQUBE and ever since I have been with the company.
Which was your first movie?
When I was in US, I worked on several features, TV series and commercials. My first credit as a VFX PRODUCER was Koi Mil Gaya. Ever since, I have worked in various capacities on different features including Krrish, Warner Brother"s “Where The Wild Things Are" and “A SOUND OF THUNDER," Walt Disney"s “Tron Legacy," Immortals, Aladdin, Madrasapattinam and Ra.One among others.
How was your Initial experience when you started as a visual effect producer?
Ten years back, issues ranged from lack of artistic talent to applications of proper production processes. It was a great challenge to design the infrastructure, establish a pipeline and train artists. And never forget that we still had to deliver to the exacting standards of Hollywood - all these within time and budgets. One had to challenge an artist to think aesthetically and not just technically.
But in the past ten years, we have seen a consistent development of our talent and improved the quality of our work. I am proud to say our talent base at EYEQUBE ranks among the best in the world. Our work has been appreciated globally by the likes of Digital Domain and Walt Disney.
Initially it was difficult to get talented people in India, how did you manage to get such people?
Artists believed in the quality of work and the culture we offered them. They chose to directly approach us. Honestly, we didn"t have any problem staffing up the studio.
EYEQUBE is unique in the sense that we cover the entire life cycle of visual effects right from the concept to completion. Most of the time we get involved right from the development stage to final post.
You have also rendered the service of special effects for Madrasapattinam. What would you like to tell about it?
It was great project to work on as we had to create the period look of Chennai City in 1947 that no longer exists in the modern day. The visual effects was all about creating a scale, authenticity and photorealism all while making it look invisible. I am also proud this was done at very reasonable budgets. The Director, DOP and Production Designer worked very closely with us and most often, we even knew what they wanted before we started shooting. This actually saved significant production costs for the producer.