Prime Focus lends VFX shimmer for the diabolical Shaitan

One of the most challenging aspects to the film was augmenting visual effects with the climax sequence chase. In this sequence, Read More">Inspector Mathur (played by Rajeev Khandelwal) chases Inspector Malwankar (enacted by Raj Kumar Yadav) through the lanes and streets of Mumbai city. The scene engages Mathur throwing a pot on Inspector Malwankar to stopRead More

One of the most challenging aspects to the film was augmenting visual effects with the climax sequence chase. In this sequence, Inspector Mathur (played by Rajeev Khandelwal) chases Inspector Malwankar (enacted by Raj Kumar Yadav) through the lanes and streets of Mumbai city. The scene engages Mathur throwing a pot on Inspector Malwankar to stop him. It is not possible to throw a steel vessel, therefore considering safety standards VFX was considered for these shots. To achieve this, director Bejoy, first shot Rajeev's action of throwing a pot at Raj Kumar without the pot, keeping the sensation of visuals in mind. The team at Prime Focus created a 3D model of the water pot in reference to the pots that were visible in the scene. There after, the 3D model of the steel water pot was timed and animated according to the Rajeev's actions making it look like Raj was hit by the pot. The challenge lied in making the real pots along with the digital pot look seamless.

Prime Focus, one of India’s most prominent post-production houses has executed visual effects for Anurag Kashyap’s and Viacom 18 Motion Pictures hottest diabolical thriller sinisterly named, Shaitan. Directed by the debutant Bejoy Nambiar, Read More">the film is an almost faultless paradigm that delves into the thought process of individuals in difficult situations. The film was shotRead More

Prime Focus, one of India's most prominent post-production houses has executed visual effects for Anurag Kashyap's and Viacom 18 Motion Pictures hottest diabolical thriller sinisterly named, Shaitan. Directed by the debutant Bejoy Nambiar, the film is an almost faultless paradigm that delves into the thought process of individuals in difficult situations. The film was shot using four different digital cameras, Weisscam, Red, 7D and 5D. Merzin Tavaria VFX creative director, Prime Focus along with Mahesh Baria VFX supervisor headed a team of fourteen artists, to conclude the entire post-production process that comprised about ninety odd shots in a span of twenty five days. Apart from visual effects, Picture in Picture (PIP), clean up and compositing workflow was carried out for the post-production phase of the film. Bollywood Hungama gives you an in depth analysis on the post-production process that assisted in the birth of the sinister, Shaitan.

Even before the film was shot, Bejoy was in constant discussion with Rohan Desai, chief colorist of the film, since Digital Intermediate (DI) was an integral part of the narrative of the film. Rohan said, Read More">“We did several tests with different formats and camera footage to decide on the sensation of the visuals right fromRead More

Even before the film was shot, Bejoy was in constant discussion with Rohan Desai, chief colorist of the film, since Digital Intermediate (DI) was an integral part of the narrative of the film. Rohan said, "We did several tests with different formats and camera footage to decide on the sensation of the visuals right from the beginning." The first part of the film was made to look energetic and spirited while towards the end the climax, it was darker and de-saturated as per the narrative of the film. The first song in the film 'Nasha' was requisite to feel fresh and lively. The original colors of the film were enhanced to make the song look more stylized and glossy. Although towards the end, the sensation of the visual completely changes, the dream sequence where-in Kalki's character Amrita, recalls her mother's death required to have a very creamy look and feel to it. This shot was tricky, since it occurs in the middle of the climax. Apart from the visuals, one of the most taxing tasks was matching and grading the shots from four different cameras.

In the same climatic’ chase sequence, Raj Kumar Yadav’s character gets hit by a truck while running away from Rajeev’s Character. To achieve the sensation of the visuals, two separate plates were shot, Read More">one with Raj Kumar Yadav enacting the scene that he has been hit and the other was of the truck alone. TheRead More

In the same climatic' chase sequence, Raj Kumar Yadav’s character gets hit by a truck while running away from Rajeev’s Character. To achieve the sensation of the visuals, two separate plates were shot, one with Raj Kumar Yadav enacting the scene that he has been hit and the other was of the truck alone. The VFX team at Prime Focus merged both the layers together. With this, the team realised that the impact of the truck hitting Raj was not credible enough. After inspection, the team timed both the different layers to sync the sensation of the impact in the shot that augmented the narrative.