The making of TZP’s Clay Animation

The technique used is called ‘Embossed Clay Illustration’ (in Dhimant’s terms). It is different from typical clay animation, as the clay figures don’t stand upright but are laid out flat on a smooth surface. It is technically easier to animate in this manner, Read More">as it requires less planning than when armatures are used. Light isRead More

The technique used is called ‘Embossed Clay Illustration’ (in Dhimant’s terms). It is different from typical clay animation, as the clay figures don’t stand upright but are laid out flat on a smooth surface. It is technically easier to animate in this manner, as it requires less planning than when armatures are used. Light is used to give the almost 2D surface, the look and feel of a three-dimensional one. The illusion of depth comes from the play of light and shadows. But the light has to be planned carefully in order to avoid throwing unnecessary shadows. This steals the volume. So the challenge is in creating a model that looks three dimensional under the camera.

Dhimant visualized the entire sequence. He first presented a couple of concepts to Aamir, which were discussed and then finalized. Within the deadline of a month and a half, the entire animation, from concept to modeling to execution and compositing, Read More">had to be made ready. Storyboards were made. There were three other model makers workingRead More

Dhimant visualized the entire sequence. He first presented a couple of concepts to Aamir, which were discussed and then finalized. Within the deadline of a month and a half, the entire animation, from concept to modeling to execution and compositing, had to be made ready. Storyboards were made. There were three other model makers working with Dhimant.

The animation in the film doesn’t come across as ‘amateurish’ at any point. Animation is part of the protagonist child’s imagination. The elements are bright and colorful, just the way a child’s world is, Read More">and it flows smoothly into the story. It is not animation just for the sake of animating something. There is aRead More

The animation in the film doesn’t come across as ‘amateurish’ at any point. Animation is part of the protagonist child’s imagination. The elements are bright and colorful, just the way a child’s world is, and it flows smoothly into the story. It is not animation just for the sake of animating something. There is a purpose and that is to carry the story forward. It is a subtle way of giving the audiences a glimpse into the child’s inner world and the animation captures that perfectly.

Read More">Taare Zameen Par was probably one of the best films of 2007. Aamir’s directorial debut came with bright and vibrant colors and a unique method of animation in Bollywood. TZP crossed all levels of expectations; the film was distinctive in each and every way. Most of you who saw the film will remember the clayRead More

Taare Zameen Par was probably one of the best films of 2007. Aamir’s directorial debut came with bright and vibrant colors and a unique method of animation in Bollywood. TZP crossed all levels of expectations; the film was distinctive in each and every way.
Most of you who saw the film will remember the clay animation used for the opening credits of the film. Dhimant Vyas is the man who added that extra oomph to the film with his clay animation. He had earlier created the caricatures for the Lagaan DVD; hence, Aamir approached Vyas to create animation for TZP.

Dhimant Vyas is the first animator to use Clay animation in a Bollywood live-action feature film. It is a craft with a human touch. It tugs at the audience’s heartstrings. It works well with the main film as the scenes depict Ishaan, the main protagonist’s imagination hence the transitions have smooth scenes and convey the dream-like quality. Transitions like morphs, camera moves, elements appearing and disappearing, and one element dragging one to anther scene is used so there is not cut till the end.

There is some cel animation and CG animation as well in the movie. Vaibhav Kumaresh’s Vaibhav studios handled the 2D animation while Tata Elxsi worked on the CG animation as well as the visual effects and compositing, Read More">besides putting credits on the sequence and adding some effects in the clay animation sequence. The three teamsRead More

There is some cel animation and CG animation as well in the movie. Vaibhav Kumaresh’s Vaibhav studios handled the 2D animation while Tata Elxsi worked on the CG animation as well as the visual effects and compositing, besides putting credits on the sequence and adding some effects in the clay animation sequence. The three teams were working simultaneously but in isolation from each other. Aamir and his production team were the contact points.