Check out ADZs behind-the-scenes vfx : Bollywood News

Digital Intermediate

The DI for the film was completed in a span of 10 days, with the director, DOP Jehangir Chowdhary, editor Bunty Nagi and senior colorist Ashish Nanajkar virtually camping in the digital suite at FutureWorks.

The entire film was scanned as per the edit and then assembled on the Quantel Pablo, after which the team went about colour correcting the film, to bring the directors vision to life. The DI begun with the process of dust busting (removing small specs of dirt from the scanned film to make the image clearer).

Ashish says, DI is the entire process from the negative to the digital medium and back to the negative, including colour grading, effects, keying and masking. The film was shot in the monsoons and colour correction gave it a uniform tone.

The DoP, especially, was very particular about the look of a few songs, says Ashish. The song in the club with Bipasha as the DJ was shot with lots of strobe lights and colours. The DoPs fantastic job was further made even more pronounced and better in the DI, adds Ashish.

A golden touch was given to Bipashas skin to give it a warmer and richer look. Director Jehangir Surti says, Bipasha being Bipasha, you dont need to do much. The amazing thing about the DI done here is the subtlety of it. Its easy to tone stuff, and stylize it. Here I was very clear that the colour correction should not take away from the story.

During a song sequence in a village in Thailand, it was raining during the indoor shoot. Says Jehangir Surti, It was a junk collectors barn and there was no space to light from above. Despite windows all around, we could not light from the outside as it was raining cats and dogs. We had to set up the lights inside, and the rest was taken care of during the DI. Other instances where colour correction was used extensively include the shot when Neil Nitin examines his grandfathers boat and an outdoor shot of a Mumbai hotel which was shot during the daytime but made to look like dusk.

The director gives credit to the FutureWorks DI team, We have been successful in doing something without shouting. Even though it was my first DI, we have been able to get the colours and tones which were emotionally correct for the film.

Check out ADZ's behind-the-scenes vfx