Visual Effects Splendour in Love Story 2050

X Box Virtual Fight The X Box fight was something that Harry and I have debated for a long time how much to do in that and what to do in that. In fact, Read More">in one of the sequences again we went through so many alterations. I must say the last minute work done byRead More

X Box Virtual Fight

The X Box fight was something that Harry and I have debated for a long time how much to do in that and what to do in that. In fact, in one of the sequences again we went through so many alterations. I must say the last minute work done by my guys is the best. I think Microsoft and X Box should really come up to us and thank us and award us.

“Fifteen thousand days of work has gone into creating the visual effects for Love Story 2050, ” informs Merzin Tavaria, Head of Visual Effects, Prime Focus. He further elaborates that a key component of say even 3 seconds at times took a month to conceptualise and execute. Well, Read More">there’s no doubting the fact that visual effectsRead More

"Fifteen thousand days of work has gone into creating the visual effects for Love Story 2050," informs Merzin Tavaria, Head of Visual Effects, Prime Focus. He further elaborates that a key component of say even 3 seconds at times took a month to conceptualise and execute. Well, there's no doubting the fact that visual effects in Love Story 2050 were brilliant. If only the story had more substance, it would have been a landmark film in totality. Merzin and his team had a great time brainstorming with director Harry Baweja who left no stone unturned in creating a whole new world. "It's visually stunning to watch cars flying but we have kept reality to everything. We have always tried to add a little bit of physics to everything so that the cars are not looking like some flying saucers or space ships. They are still in the real space," says Merzin. Let's find out what Tavaria has to say about the making of a few key structures in the futuristic Mumbai.

Shell Houses

Mumbai is running out of space. We are already moving in to the sea and what better place than having VIP bungalows right on water. So this was the concept of shell houses which are houses half above water half below water. The original design for shell houses was done by Art Director Omang Kumar. We created a whole colony of shell houses giving them a more of a palm feel. We have a 55 second shot for the camera travel, which is the bird's eye view going down in to the shell house and the camera travels right through the inside of the shell house, goes around Harman and you see Nariman Point of 2050 and that's a complete 360 degree virtual environment.

City Center City Center is the carry forward idea of not having enough space in Bombay. Yes you can go skyward with two hundred floors high rises but where would you have an entertainment center? Harry decided to actually put it in the middle of the sea so you have this island, Read More">the floating islandRead More

City Center

City Center is the carry forward idea of not having enough space in Bombay. Yes you can go skyward with two hundred floors high rises but where would you have an entertainment center? Harry decided to actually put it in the middle of the sea so you have this island, the floating island which is connected by trains by metro by flying cars. The concept for the City Center took more than six months. It's a very key player in the whole thing. City Center was designed with the idea of having an entertainment hub right in the middle of the city with shopping, multiplexes, restaurants. A lot of thought has gone into how traffic is going to come from, what is the plan for the traffic, what is the rule that traffic has to follow.

Read More">Villain’s Tower The Villain Tower was always supposed to be one menacing structure. This was the fight that is on the terrace of the tower with the lead character Harman fighting the villain. In reality what has been shot is just one part of the set and the rest is complete green screen where weRead More

Villain's Tower

The Villain Tower was always supposed to be one menacing structure. This was the fight that is on the terrace of the tower with the lead character Harman fighting the villain. In reality what has been shot is just one part of the set and the rest is complete green screen where we have actually enhanced or we have added on set extensions for the tower and the terrace itself. Besides that the biggest challenge was that as soon as you are on the terrace, 360 degree of city can be seen because it's the highest place so that became a big challenge and I am happy to say that whole thing has worked out quite nicely. We actually got in a team from Frantic Films in Vancouver to work with us on it and I think they have done a great job.

Read More">Boman Irani’s Museum Sequence The museum sequence I must say is that we took it very lightly when we started the whole thing and it turned out to be one of the biggest sequences in the film because it had over 75 to 80 shots in itself. It’s all about compositing and 3D so weRead More

Boman Irani's Museum Sequence

The museum sequence I must say is that we took it very lightly when we started the whole thing and it turned out to be one of the biggest sequences in the film because it had over 75 to 80 shots in itself. It's all about compositing and 3D so we used matte painting in the background for set extensions.