Today was a black day for many of my friends at Rhythm and Hues, Mumbai. As many were given a month’s notice, also there were quite a few who were not so lucky. Those guys were told to immediately pack up and leave. Many departments were totally closed down.
RnH as it is fondly called, was one of the few places on earth were artists working there were treated with dignity and respect. It was a place were we enjoyed while we work. It was full of life that every artist can possibly dream of. People sharing their knowledge, supporting others to learn and grow.
Bad management, Blind faith…whatever the cause for the down fall and this situation may have been. It will take a while to get over this tragic incident, as news of a similar situation for the Hyderabad office looms large. Hope the new management has something sensible enough to roll up their sleeves to revive RnH, now left with full of machines.
While Previs is a collaborative process that generates preliminary versions of shots or sequences, predominantly using 3D animation tools and a virtual environment. There are several other similar techniques in use today. Using digital tools these are used by various relevant departments of the film production crew.
• Pitchvis illustrates the potential of a project before it has been fully funded or greenlit. As part of development, these sequences are conceptual, to be refined or replaced during
pre-production. (Although pitchvis is not part of the main production process, it allows people like executives and investors to take a first look at the potential result.)
• Technical previs incorporates and generates accurate camera, lighting, design, and scene layout information to help define production requirements. This often takes the form of dimensional diagrams that illustrate how particular shots can be accomplished, using real-world terms and measurements. (In good practice, even preliminary previs is most often based on accurate real-world data, allowing technical data to be
more easily derived.)
• On-set previs creates real-time (or near-real-time) visualizations on location to help the director, VFX Supervisor, and crew quickly evaluate captured imagery. This includes the use of techniques that can synchronize and composite live photography with 2D or 3D virtual elements for immediate visual feedback.
• Postvis combines digital elements and production photography to validate footage selection, provide placeholder shots for editorial, and refine effects designs. Edits incorporating postvis sequences are often shown to test audiences for feedback
and to producers and visual effects vendors for planning and budgeting.
• D-vis (design visualization) utilizes a virtual framework in preproduction that allows for early in-depth design collaboration between the filmmakers. Before shots are developed, d-vis provides a preliminary, accurate virtual design space within which production requirements can be tested, and locations can be scouted. Approved design assets are created and made available to other previz processes.
In recent years, digital previs (in virtual 3D space) is playing a more and more dominant role. It offers a path to new forms of filmmaking (see later section on advanced techniques). But traditional practical previs techniques also continue to provide economical ways to communicate desired action and imagery. Regardless of the technique chosen, the principal goal has always remained the same. By developing and then expressing the intention of a sequence in an accessible visual format, successful previz increases the likelihood that that intention will eventually be realized.
WOOOHOOOOO !!!!! (Celebrations all around) The Best Visual Effects Oscar goes to “Life Of Pi”. Another proud moment of being a part of an Academy award winning team, once again. The first time being in 2008, when we got our Oscar for the best VFX on Golden Compass. Congratulations to all those who worked on it !!! 🙂
Regarding the guys i know (and have met) in picture, second from left is Bill Westenhofer (VFX supervisor at Rhythm and Hues) and second from right is Erik De Boer (Animation director at Rhythm and Hues).
P.S. i do not own any copyright over the picture, its just for the record.
Holding the much sought after award in the world of film was an inspiring experience. One that would continue to fuel my dreams. This photo was taken at Rhythm and Hues, Mumbai. I was fortunate to be a part of the Oscar winning Visual effects team headed by Bill Westenhofer.
Way to go !!! With the amount of dedicated work put in, it’ll be no surprise if it’s bags most of them including Best VFX !!! 🙂
The Full List:
All thanks to Jeetu for arranging our tickets for LOP show at IMax !!! It was an Incredible movie, thoroughly enjoyed it with all of my friends at Rhythm and Hues ! 🙂
Great to see my name in LOP credits, last movie in Rhythm and Hues 🙂
it always is a special feeling to be a part of an Incredible Movie. But to be appreciated by people of the highest order for our contribution is something that stays with you for years to come. On the eve of the LOP India release, sharing this mail from Erik Jan De Boer, Animation Director (Rhythm and Hues) on Life of Pi, sent as a token of gratitude !!!