Bengaluru B2B AVGC Summit 2017 Pitch Finalists’ Names Announced

The suspense has ended today with the announcement of the names of the short listed companies which have got through for the animation and gaming pitch organised under the aegis of ABAI’s Bengaluru B2B AVGC summit 2017. The association has got the full support of the Karnataka government for the summit.

International broadcasters, investors, production studios and OTT platforms like Disney, Hotstar, Amazon,CBBC,Turner and many more are participating in the summit which is to be held on 16 and 17 November 2017 at ITC Windsor Manor hotel, Bangalore.

The pitch deadline was initially 6 November, 2017. It was later extended to 8 November due to high public demand. Out of the plethora of entries which poured in from across the nation, 105 pitches have been shortlisted from 66 animation and gaming studios.

The announced list of finalists for the pitch is available on the following link:

http://abaib2bsummit.com/shortlisted-finalists

The ABAI organising team issued thanks to everyone who submitted their pitches through a press note. It also congratulated all the finalists and encouraged them to get ready to realise their dreams.

A consolidated list of 15 buyers across the world has been already announced and there will be more announcements tomorrow as well. It includes names like Zia Bales from Turner Broadcasting,Avrill Stark from A Stark Production,Aaron Davidson from Amazon Studios to name a few.

In the next phase, the matchmaking session between the pitchers and  buyers will be done by ABAI and the slots will be announced on or before 14 November 2017.

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Kidscreen Summit 2018 to kickoff exploring the emotional landscape of Gen Z

Kidscreen Summit announced that it has confirmed three keynote presentations as marquee features of its conference program for the 2018 event, which is set to take place in Miami, Florida from 12 to 15 February.

The day the universe changed: How 2016/2017 turned Gen Z’s emotional landscape upside down, and the doors this opens for more emotionally relevant media platforms and content

For the last 10 years, US research firm The Family Room has been mapping the shifting emotional landscape of Gen Z youth. The year 2016 triggered the start of some astonishing shifts in the passion points (a term used in consumer culture to describe those products or services that strike a chord with consumers’ identity) Gen Z kids and teens are most focused on, leading to implications for the kids media industry that cannot be overstated.

In this keynote, TED Talk speaker and Family Room CEO George Carey will track these shifts in Gen Z’s emotional landscape, exploring how they will impact the where, how and what of youth media consumption, and recommending strategies for kids media players to reflect this new reality and elevate the emotional relevance of their properties and platforms with today’s kids and teens.

From left: Geena Davis, George Carey, Marty Krofft

Geena Davis returns to Kidscreen Summit

Activist and Oscar-winner Geena Davis will unveil exclusive new research from the Geena Davis Institute on Gender and Media. Her latest study seeks to examine how products are being marketed to boys and girls through the use of brand mascots. It will analyse and identify current trends in the marketplace, and look at how the way brands portray different genders negatively or positively affect the way children perceive gender roles.

In conversation with Marty Krofft: Kids Entertainment Legend

Brothers Marty and Sid Krofft first hit the kids media spotlight in the ’70s as creators of decade-defining shows including H.R. Pufnstuf and The Land of the Lost. In 2015, the duo came back in a big way, starting with Mutt & Stuff (Nickelodeon), then the reboot of Sigmund and the Sea Monsters (Amazon Studios), and now the upcoming Myam’s WonderLab (starring The Big Bang Theory’s Mayim Bialik).

Sid & Marty Krofft Pictures president Marty Krofft is coming to Kidscreen Summit to share his lifetime of experience with attendees, delving into the brothers’ development process, how the business has changed, and the secrets to keeping kids watching.

Kidscreen Summit 2018 will once again take place at the InterContinental Miami, located in downtown Miami.

In 2017, the event welcomed nearly 2,000 attendees from more than 50 countries around the world, including more than 450 kids programming buyers and investors looking for new content and partners. The event’s conference program and networking sessions allows one to learn about the latest trends, issues, opportunities and connect with the industry’s top decision-makers.

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Sessions galore; Unity successfully concludes its first edition of Unite India

Amid much fanfare, Unity concluded its first ever edition of Unite India. After a first day packed with sessions and workshops, the second day commenced alongside NGDC’s opening. The expo stage clearly had more buzz around it than yesterday and a lot of new faces had shown up!

A presentation by Gnation, which has recently collaborated with Unity focused on blockchain and how it can be implemented. The company is attempting to create an ecosystem including  publishing platform for developers, an esports venture and much more, all connected by the string of blockchain.

Roosh Interactive’ Srinivasan Veeraghavan took to the stage to talk about his studio’s title Zombie Bloxx. Demonstrating how the game was built on Unity with special focus on how to build large scale VFX for similar games.

Gazecoin had an interesting session as well. Even though a lot of attendees missed out on the session, it turned out to be quite interesting. The company aims at bringing correct track of monetisation for VR and AR content in place with the assistance of blockchain. It has designed something which has been named, “The Wormhole Transport System” (WTS). This will apparently let you use your gazecoins or those specific blockchain credits to be transferred to other platforms for use. It has partnered with Advir and is trying to create a ‘de-centralised community’. The company is currently valued at only $8 million but has big plans in place for the near future.


MetARVRse Technologies’ Thirukumaran Saravanan spoke on the backdrop of ‘Holographic Asset Management’. He mentioned the current shortcomings in the process, for example sensory overload, explosion of machine data and more. It has been trying its holographic controls through hololens till now which limits the touchability, however it is looking towards VR to make it easier.

Concluding the first ever Unite India was a session curated by the folks from Unity Technologies. What can be called an informal closing ceremony, the crew wanted feedback from the attendees as what they want to see in the next edition and what they liked in this one. The attendees responded asking for more cinematic demos in the next edition and more practical session rather than theoretical ones. Someone even said the food was amazing, he was not wrong to be fair, however.
Other suggestions included more sessions for new comers to Unity, but the most requested agenda was to have more workshops promising practical experiences.

With this, time came for curtain call and pretty much everyone thanked the crew for the exciting two-day event with an applause, hoping for a bigger and better next edition of Unite India.

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An animator’s greatest asset: the short film

In this Motionographer Guest Post, Eoin Duffy provides an intimate look into the world of personal projects and the value of making short films.

Command X 2017

A visual journey through the screen graphics of ‘Blade Runner 2049’

BladeRunner2049_Trailer_DENAbaseUI_TS

Territory Studio is behind some of the coolest UI and screen graphics you’ve seen in recent films, from Prometheus to Ghost in the Shell and now Blade Runner 2049. What better way to see what they did for the Denis Villeneuve film than just let them show off their visuals. Here’s a look at designs and finals from the film, along with their notes on how they were made.

Background to the work

When Supervising Art Director Paul Inglis rang about bringing us on board Blade Runner 2049, we all had to take a moment. The original Blade Runner made such an impact on many of us, that both personally and professionally the chance to work on the sequel was huge.

01_Bioluminescence_Moodboard_0002

Apart from on set screen graphics, there was no clear brief. Instead, we (Andrew Poplestone Creative Director and Peter Eszenyi, Creative Lead) went to Budapest to speak to Paul & director Denis Villeneuve who outlined what the film was about thematically and what the Blade Runner universe (30 years after the original) was about in terms of progression and context. We also talked about how technology fit into the film as a supporting narrative device and how he felt that technology should look and feel in the context of the larger themes – status, power, human, non-human, memory and identity.

Villeneuve asked for originality. He didn’t want to simply evolve technology but asked us to create a possible technological alternative that fit with a trajectory that had been advancing until a ‘blackout’ event had reset the basis for technology as we think of it today.

During the trip we saw concept art in Production Designer Dennis Gassner’s office and those big landscapes, the bleakness of snow and fog, the contrasting interiors and urban textures and degradation of all everything mechanical gave us the best reference point for look and feel.

The screen graphics were all to be story specific – no fluff or noise on the sets, which meant that we could concentrate on supporting story beats.

From those conversations and references we started a R&D phase, and gathered concepts and ideas about how technology that is not reliant on electricity or digital can look and behave. Words that Denis used to describe what he wanted included ‘abstract, organic, optical, physical’.

We ended up with an extremely experimental approach – never tied to CG, the R&D process involved looking at alternative interface technologies, at optical and physical effects and layering of textures that suggested age, dilapidation and a different path.

We looked at the microcapsule technology used in E-Ink displays and advancements in bioluminescence, to see how colour and what palettes can be achieved in the absence of LED screens.

To achieve ‘physicality’ and organic textures, we brought in optical lenses, old school projections, microfiche, and rolodex cards and other stuff to the studio. Even fluids, fruit and meat products were dissected and photographed.

The screen graphics were all to be story specific – no fluff or noise on the sets, which meant that we could concentrate on supporting story beats. From those conversations and references we started a R&D phase, and gathered concepts and ideas about how technology that is not reliant on electricity or digital can look and behave. Words that Denis used to describe what he wanted included ‘abstract, organic, optical, physical’.

We ended up with an extremely experimental approach – never tied to CG, the R&D process involved looking at alternative interface technologies, at optical and physical effects and layering of textures that suggested age, dilapidation and a different path. We looked at the microcapsule technology used in E-Ink displays and advancements in bioluminescence, to see how colour and what palettes can be achieved in the absence of LED screens. To achieve ‘physicality’ and organic textures, we brought in optical lenses, old school projections, microfiche, and rolodex cards and other stuff to the studio. Even fluids, fruit and meat products were dissected and photographed.

We were brought on board in pre production to set the screen graphic concepts and design. We delivered over 100 assets across 15 sets, which almost all were implemented live and shot on set. In some cases the assets were finished in post, but our design direction was carried through the entire process

The Denabase




Baseline scan






Morgue scan





Nodding Heads’ debut game, ‘Raji: An Ancient Epic’ goes live on Kickstarter


Nodding Heads Games has been garnering a lot of praise from the industry and enthusiasts alike for their debut game, ‘Raji: An Ancient Epic.’

Back in February of this year, in an interaction with AnimationXpress, the studio had talked about their inspiration for the game saying, “We wanted to make a game that represents lores, myths and stories from India. Right after our visits to Rajasthan back in 2014, we were so inspired by the splendid beauty and grandeur of monuments from the medieval era of Rajasthan, we decided to make a game that portrays this timeless and unique beauty to the world. Our alternate universe is loosely inspired by epics – Ramayana and Mahabharata. By combining these two, we were able to imagine a game of grand scale.”

Set in Ancient India, Raji is a young girl chosen by the gods to stand against the demonic invasion of the human realm. Her destiny is to rescue her younger brother and face the demon lord Mahabalasura.

The game was pretty much in an embryonic stage back then. With a clear vision, however, the studio has pulled off a pretty good feat. The game is now in a much more stable state and is going live on Kickstarter today! The Studio also plans to put up a playable demo for the same during NGDC.

We asked the studio on what their journey was like so far, to which they replied, “We’ve gained tons of knowledge about Unreal Engine since we’ve been using it on a daily basis. We have seen how the game’s design can evolve drastically through iteration and play tests. We feel we’ve mastered the fine line of being ambitious and having realistic goal. We’ve invested an awful lot of time and we feel it’s paid off!

“We’ve received an overwhelming positive response to date. We achieved 95 per cent positive votes on Square Enix Collective, and were featured on Square Enix’s official Facebook page. Recently the game was featured on all of Unreal Engine’s official social media, which was most unexpected and extremely gratifying. The community that has built around the game has been very interactive and responsive. We are looking forward to further growing our community.”

We’ve been somewhat tracking the development of the game through the small anecdotes that the studio keeps releasing and the game seems to have shaped up pretty well from where it began!

Now, with the game going live on Kickstarter, it’s up to the community to take the story of Raji ahead as the studio said, “We’re very excited about the launch. The game’s future rests in the hands of the community. To everyone who thinks an Indian action adventure game like Raji deserves to be developed, go on and support our Kickstarter, if not then spread the word for us, be part of our epic journey!”

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TASI’s Anifest India 2017 salutes indigenous IPs with ‘Return of the Jungle’ screening and curated sessions on second day

After an exciting first day filled with interesting sessions, Anifest India 2017 kicked off on day two with another line-up of promising sessions by erudite speakers.

Like the first day, the second too commenced with a live sketching session from 10 to 11:40 am, with Chetan Sharma, Vaibhav Kumaresh, Vaibhav More and Vivek Ram assisting students. Students were asked to sketch specific live models but had freedom to pick anyone from the auditorium and sketch them.

Sketching session on Day 2 (c) 2017 TASI – Anifest India

After the session, all the volunteers of TASI-Anifest India who had helped put the festival together were felicitated. From assisting speakers and guests to picking up the mess after everyone leaves, the volunteers had worked rigorously and brought together a great festival.

From 11:40 am was the screening of a part of Return of the Jungle, a 100-minute 3D animated feature by Vaibhav Studios which is still under production. The screening was clearly the most anticipated session as the audience hooted and cheered as the film was about to begin. The film is divided into two chapters of which the first was shown.

Team of volunteers that organised the festival (c) 2017 TASI – Anifest India

Return of the Jungle had been made in isolation by Vaibhav Studios’ team since many years. Vaibhav Kumaresh wanted to show the first 50 minutes of the film to an audience and get a feedback.

The story revolves around the life of a bunch of school kids who get their learnings from the stories of the forest. A heart-warming tale with doses of realism infused, the film received rapt attention throughout.

The resounding positive response became evident as the audience gave a standing ovation as the screening ended. The Q&A session along with feedback post the screening was encouraged a lot. Students pointed out multiple elements of the film that they could connect with while artists were in praises of the numerous technicalities that they thought were impeccable.

Team of Vaibhav Studios behind ‘Return of the Jungle’ (c) 2017 TASI – Anifest India

Kumaresh called the entire team behind the film on the stage and individually introduced them and their profile for the film.

After the lunch break, Garbage Bin founder Faisal Mohammed took to stage to talk about creating an IP for the digital media. While most were aware of Garbage Bin, some were not. Hence he started off with explaining what his team does at the company. He then shared his journey full of crests and troughs as to how Garbage Bin came into being and what drove him to become a Facebook sensation in India, along with showcasing his comic strips.

“I don’t try to be funny. I never try to be funny. I only take pieces from our own lives and put them into gags,” said Faisal. “The only mark I try to hit here is nostalgia.” And often when people see the gags that he has created, they find a little bit of themselves in there. The gags have parts taken from the daily lives of a middle-class family which lighten the mood of anyone who reads them. “For someone who leaves office in the evening, only a little smile and nostalgia will help relax. That is what I try to give through these gags,” he explained of posting the small comic strips on Facebook at a time when traffic is at a peak on the website.

Vivek Ram felicitating Faisal (c) 2017 TASI – Anifest India

What impressed students as well as other artists was the manner in which Faisal conducted his session- simple and straightforward. He very nonchalantly shared how their team faced controversies when they created games and content, before Garbage Bin was born. Faisal was effortless in the way he narrated his stories and the audience burst out laughing at the humour, a style that he seemed quite comfortable with.

The session after that was taken by Ranjit ‘Tony’ Singh- creative producer, animation director and author of the only published book on animation production management. A founder trustee of TASI, his session was on The Creative Producer on IP Creation. Singh started off with asking the audience of what they know about production and a producer. He then expounded the role of a producer in live action as well as animation. He explained the difference between a producer, executive producer, associate producer, co-producer, assistant producer, line producer, production co-ordinator and creative producer.

Tony Singh during his session- The Creative Producer on IP Creation (c) 2017 TASI – Anifest India

Creative producer is required in the field of animation as it is necessary to keep finance and creative separate in this field. She/He works closely with the director and is aware of the medium, its capacity, challenges and everything related to it, and provides creative input to the director. Hence Singh strongly believes that a creative producer should have a thorough knowledge of the medium and about 15 years of work experience to take the post of a creative producer.

“I do not understand when people post recruitment ads saying: Production Coordinators required, 1-2 years experience or freshers will do,” he said with annoyance. “You cannot put a fresher in a production role and expect her/him to drive senior artists, because its human nature that no one will listen to her/him. The lack of experience and knowledge will make them totally ineffective. A production department is not a messenger service and production co-ordinators should not be viewed as postmen. It is critical for a producer to really know the medium and the process because she/he has to get work done from others. Only after you have been through the entire pipeline playing each and every role can you even think of becoming a producer and only after you experience direction and creative, can you move towards creative production. And that coming from an experienced man like him definitely brought a lot of weightage and seriousness.

During the Q&A session, students responded saying that it was genuinely an enlightening session as most of them were clueless of the functions of a creative producer and ignored it too. With a wholesome perspective of the post, they would now think of it as a long term career plan in the field of animation.

Vivek Ram explaining anatomy through sketches (c) 2017 TASI – Anifest India

After a quick tea break, Vivek Ram took to stage for his session on Creative Anatomy. For making the session interactive, he had pictures and sheets of paper where he would sketch and explain. “If you don’t know anatomy, your characters are going to be less believable,” he started.

Two important things when understanding anatomy are the skeletal structure and the muscular systems. “How to balance these in a design you want to create,” he questioned. With the help of computer visuals and his hand-drawn sketches, Vivek elaborated on the muscular and skeletal systems of humans, animals and birds. One can create characters with even basic knowledge of anatomy but a deeper understanding of the body structures gives greater precision in the character modelling and rigging. And indeed, his session threw light on this unexplored beat and highlighted its significance.

Towards the end of the session, he had a fun activity lined-up for the audience. He would create a unique creature out of the various animals, birds and reptiles. Dividing the new creature into head, body, arms and legs, he called for the names of the species that would have their part fitted into the new creature. Thus turned out the response and he had to sketch a creature with- a bull’s head, a lion’s body, a frog’s legs along with few additions like wings and three tails! Nonetheless, he took it up sportingly and created a beautiful sketch of the creature on the spot.

From left: Chetan Sharma and his team members from Animagic (c) 2017 TASI – Anifest India

He received a round of applause and lots of appreciation from the audience but went on to explain that along with creating a creature, the artist should be aware of the purpose that he is going to make the creature serve. “Only then it makes sense to give it a design that is not seen before,” concluded the speaker who was apparently loved by the audience.

The last session of the festival was by Chetan Sharma- Animation for Change. Sharma showcased his films Ek Swacch NavbharatMangroves: The Shorekeepers of Mumbai and Raju & I, and shared the stories behind the creation of all of them. All the three films gave strong social messages and were selected for various film festivals across the world, winning awards too.

Students gathered around the speakers at the end with more doubts and inquisition, and the thirst for knowledge was evident across the hall.

Vaibhav Kumaresh handing out a gift after the sketching session (c) 2017 TASI – Anifest India

“At Anifest India we talk only art, craft, technology and issues related to the same,” Singh told AnimationXpress. “This is a very big draw for artists as they get a chance to really interact with the community on a personal level. All our sessions are simple and easy to understand. All speakers are requested to make their presentations interactive and jargon free. This allows an easy  connect with the audience irrespective of student, professional or even enthusiast.”

With that, Anifest 2017 came to end, closing on another successful event serving its part in the animation industry, educating the aspiring artists of the country and encouraging the production of Indian IPs and indigenous content.

Singh added: “We want more organisations to come forward and participate on their own. Institutes should ensure that their faculty and students attend Anifest India every year as its a unique multi-day, multi-disciplinary event where you can learn and interact with the best artists from around the world. Also, if anyone is interested in presenting their work, or new technology, art related product that they may have developed, they should contact us to schedule a session in the 2018 edition at the earliest.”

Well then, gear up we say!

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ARK Infosolutions hosts V-Ray days in partnership with Chaos Group

ARK Infosolutions in partnership with Chaos Group is hosting V-Ray Days from 6 to 10 November 2017 in Bangalore and Mumbai. V-Ray days provides a platform to learn the recent developments on V-Ray releases and the future of rendering technology and sharing advanced knowledge.

ARK Infosolutions has been associated with Chaos Group for over a decade now. ARK constantly strives to bring exceptional value to the Indian professionals and strengthen relationships with them. Through such events there is constant evolution which attracts countrywide attention by professionals from various industries. The V-Ray Days has become a recognisable brand and a synonym for knowledge in this industry.

“Today V-Ray is already capable of being an integral part of the design process, helping repeat and proof concepts and visualise every stage of developing an idea from an early stage.

And while this is the present of designing across the world, the future holds wider possibilities of integration into the thought and work processes of those who create and evolve our environment,” said ARK Infosolutions director and CEO Rishi Khemka.

“Through this partnership, we get everything within reach to help Indian professionals in the process of making better, more effective and flexible future technologies,” he further states.

Chaos Group channel marketing expert Alexander Karakshev added, “We see India as an integral part of the V-Ray process and an adopter of the most evolved technologies. We partner with Indian companies to further enhance its exceptional growth and development potential and spread the latest developments of the industry across architecture, design, VFX, animation and games sector.”

V-Ray Architecture Day and V-Ray VFX and Animation Day in Bangalore and Mumbai features a 90-minute masterclasses by CG specialist Kalina Panteleeva on V-Ray in Revit, SketchUp, 3ds Max and Maya, a special masterclass on V-Ray RT GPU and Phoenix FD 3.4. Adebeo’s Narayan Shevni bringing the latest news on SketchUp, while YellowDog’s Tom Rockhil shows the benefits of scaling up rendering in the cloud. The roadshow has special guests from Prime Focus World, DSK International, eClerx, Diadeis and others.

Chaos Group and ARK Infosolutions country manager Percy Daruwalla says,“Logically Chaos Group were looking for such a partner in India – possessing a detailed knowledge of the market and various industries our products apply to, also possessing the right experience and corporate culture to fit their constant drive towards innovation and product excellence.”

The team at ARK comes as a natural choice – with the dedicated specialists in sales, marketing and technical support. It has the reputation of a prime M&E, AEC and MFG distributor, helping world-renowned vendors increase their footprint in India’s vast market (territorially and as industry size).

“ARK saw in Chaos Group a strong and dynamic industry leader to complement our portfolio excellency. In hindsight, it has been a win-win situation and a mutually enriching relationship all along” added Percy.

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Unite India kicks off its inaugural edition in Hyderabad

Unity Technologies commenced its first ever edition of “Unite India” on 8 November at HICC, Hyderabad. The event is for two days from 8 to 9 November 2017. As attendees, who not so surprisingly comprised of a lot of students as well, swarmed the registration desks, you could see a lot of familiar faces from the industry throughout, catching up with their fellow colleagues.

Unite is the most important gathering of Unity developers, artists, publishers, educators and enthusiasts. Speaking of Unity, it is one of the leading platforms in the market for creating video games, simulations and other interactive 3D and 2D content.

The event is an eyeopener to gain valuable insights on the latest Unity features and also stay up-to-date with the latest market trends. It is also an arena for gaming industry experts to know about what it takes to succeed, and how one can test one’s skills with the Unity Certification Exam.

As soon as the registrations were complete, a bunch of students went in for the Unity Certification exam and you could see the rest sitting around in the BYOG section in the expo hall.

As the crowd settled in places, SmartVizx’s Chandan Singh took to the stage for the very first session- Postmortem: Hephaestus – A VR based architectural drawing tool. As the title suggests, the speaker and his colleague posted a breakdown on the plus points and challenges of the tool.

The session was followed by UnderDOGS’  Vaibhav Chavan taking the stage to speak about the journey of their upcoming game ‘Mukti’ through the developer’s perspective. He stressed on how the Unity community is much more active than Unreal Engine’s and how it assisted them in getting feedback on points they pondered upon. He also mentioned how the light baking helped them in increasing the FPS shortcomings for their title.

Threye Interactive’s Anurag Rana shared how simulations made through Unity have been assisting the Indian troops in training through various scenarios including soldier training, flying an aircraft and much more.

While the talks continued in full swing, the expo area was gaining traction as a string of booths, mostly consisting of indie gaming and VR studios showcased their offerings to the enthusiasts. The expo area was pretty engaging already, however a few stalls still remained vacant or in the process of embellishing for NGDC, which is slated to begin from the next day.

Networking and meetings could easily be said to be the major agenda around the expo. Post lunch, the folks from Unity Technologies took to the stage for the keynote. With a lot of stories of success from Indian developers using Unity, a few announcements were made further. A collaboration with Autodesk’s Maya and a new 2D tool were announced. Cinemachine for 2D and Tilemap, the first grid-based 2D tool from the brand were declared as well. Following the announcements, the speakers borrowed assets from EpicHouse Studios’ 2D platformer, Phased, to demonstrate the running of the 2D tools.

With sessions going on till the evening, the crowd was intact till the end, juggling between conference halls and the expo.

All the talks seem to however point to one thing in particular that how easy Unity has made it for the developers. Arguably every speaker, in some way focused on the simplicity of the offerings from Unity.

Day two of Unite India’s debut edition is yet to be seen, but given that the show shares the same venue and even expo with NGDC, day two seems to be even more promising with more talks and more people around!

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