When the 10th edition of the Asian Film Awards (AFA) was held at the Venetian Theatre in Macau, China, Team NY VFXWAALA, a division of Ajay Devgn Films, worked magic at the glittering event. The fledgling company won the Best Visual Effects award for their work in Bajirao Mastani. Prasad Sutar and Naveen Paul, who head the division, share insights with Soumita Sengupta on the industry’s changed perception of VFX, how it enhances screenplay and their future plans
Congratulations on winning the award.
Prasad Sutar (PS): Thank you so much.
Naveen Paul (NP): To be very honest, when we were nominated, we thought we would go to Macau and party but then we also won the award and were really excited. This is the first time an Indian VFX company has won the award, so it’s a very proud moment for us.
PS: There were nine nominations from India, representing every technical department. Of those nine, two films – Bahubali and Bajirao Mastani – were nominated for VFX. It was a huge high for a new studio to be nominated and we were up against technically strong Chinese and Korean films. China and Korea are very strong markets of VFX and films like Attack On Titan, The Great Tiger and Monster Hunt were heavy on VFX work. Winning against them is a huge win for the company.
Both of you have been in the industry for a very long time. How did you start a
new company?
NP: While Prasad has more than 20 years’ experience, I have more than 15 years. Just like everyone else, we too wanted to do something on our own. Our association with Ajay (Devgn) sir is a very long one. I believe we started working with him way back in 2004. So when we shared our idea of starting something of our own with Ajay sir, he was happy to come on board.
Both of you keep a very low profile. How do you manage to bag so many films?
PS: (Laughs) I believe it’s the experience we carry and also delivering films on time, which is very important. Keeping a low profile is part and parcel of our profession. Technicians are not supposed to be all out there. Also, in our profession, the less apparent the VFX, the more it is appreciated.
NP: We are like that by nature. Our profession doesn’t demand high-profile workers. In fact, what it demands is delivery, consistency and value addition to the visuals. VFX is a process and sometimes it takes years before we see the final outcome.
PS: We are a lot more aggressive when it comes to delivering our work. The aggression comes when you have your eye on the deadline and the opportunity to do something new. And, of course, we too are as good as our last film.
How aware are today’s directors about VFX and what are the typical demands that you face from filmmakers?
NP: Technically, there is tremendous growth in understanding what visual effects can add to films. Regardless of the size of a film, visual effects have become a common platform for everybody to add value to their films. There are some things that cannot be shot and it also helps keep budgets in check. Filmmakers have exhaustive meetings where they discuss what can and cannot be done through visual effects. Anyone can log on to the Internet and look at the kind of shots they want. So filmmakers, too, do their homework thoroughly. Hollywood is a great inspiration for the Indian VFX market. Today, directors are quite aware of the potential of VFX.
PS: Directors are increasingly looking forward to using VFX. Earlier, we were given footage and were asked to do the visual work. Things have changed drastically since then, and we are now involved in a film even at the scripting stage. So we are part of pre-production too. That’s one of the biggest changes we have witnessed in the last four years.
Things are divided into two parts: the creative part, keeping the script in mind; and the production part, where budgets are decided and what can and can’t be shot. Those two factors are most important when VFX is discussed. For example, a director like Sanjay Leela Bhansali, who is known to make grand films, doesn’t use the green screen but for Bajirao Mastani, almost every scene was shot in chroma. So that transition for a director like Sanjay sir is huge. It is actually kind of a benchmark for the VFX industry. Recently, I met a director who is making a small-budget film but has an idea about how he wants it to be done. So we are also part of the discussion.
NP: Even Rohit Shetty uses VFX extensively. He likes using technology, which adds value to his action films. Slowly and steadily, VFX is the way to forward.
PS: Bahubali and Bajirao Mastani released last year and both films opened the eyes of several producers. Now they are prepared to wait even three years if their script is similar to these two hit films, because they know that both films took time at the VFX stage. So we hope these two films help to make filmmakers more patient! If they hold on to the post-production work for a year, they get better output.
Given that almost everything can be done through VFX, do you also get a lot of
footage in chroma?
NP: No. And we don’t want that because VFX can add to what you can’t shoot naturally or cut costs where you could go over-budget. For example, while shooting a war film or a period film, you use more VFX because creating those sets is difficult. But when you shoot a film like Piku, VFX work is minimal. The same thing can be shot with VFX or without VFX, so it depends on what the director is visualising. If you shoot your entire film with a green background, the essence or flavour will be lost.
PS: When Rohit sir shoots action scenes, they are real action scenes but sometimes the backdrop of what he wants cannot be added at real locations. Till Ram Leela, Sanjay sir did not want VFX because, up until then, he shot at real locations as it brings in a whole new visual. So, the mahal scene was actually created but there are some scenes or sets that cannot be physically created.
As we all know, Bajirao Mastani was a story he wanted to do for a very long time and had he shot this film 10 years ago, he would have done it on real locations, perhaps with 100 horses and 200 people. But here, you can save money through VFX, which also adds to the visuals and he chose to do it this way.
Take the example of Barfi!, a non-VFX film as it is a love story between three people. But we, as a team, almost did an hour’s VFX on it and only Anurag Basu, his team and we know that VFX was used. But, again, we did that because of Anurag, not because the script demanded it. It’s the way he shoots
a film. Imtiaz Ali too likes to shoot at real locations but when we worked with him in Tamasha, he was stunned at some of the VFX work we did on his film. It brought what he wanted alive on screen. He was so happy that he said that, for his next film, he would use the tool in a bigger way. That’s the kind of change taking place.
What was the brief given to you by Bhansali for Bajirao Mastani?
NP: Bajirao Mastani is a period film and he had a vision. He shot the film and there were scenes where you required thousands of soldiers but you can’t shoot with so many people. That’s when VFX steps in. Also, you cannot fool the audience, so the VFX should do justice to the storyline. What we did was just give his story a visual effect. He was very clear about what he wanted; he shot every scene on real locations and we added what could not be added on the sets. His brief was to stay real to the storyline.
As a company, NY VFXWAALA will be completing a year. What have you learnt in the last 12 months?
PS: We will complete a year in May and we are glad that we have our hands full. For a new company to win such an award is a huge achievement. Also, we have done films like Prem Ratan Dhan Payo, Bajirao Mastani, Dilwale, Tamasha and we have Shivaay and Dangal in the near future. There is huge competition in the VFX segment, as several companies are in the market. Delivering things on time is crucial, especially when a director comes back to you.
