A newspaper can be the piece of job which integrates the increased section of one’s work during master degree faculty. Each grad understudy is allocated an instructor and specified wants of exactly what the newspaper needs to comprise, the affirmations field being among those essential pieces to comprise. This functions really a rule towards the conclusion of one’s newspaper and also can be the region in which you supply confirmation and gratitude into some outside person or collecting which left work possible. The verification place is broadly speaking as crucial to a own paper because anything is still left of this task appears to really be.

The need for committing affirmation is broadly speaking as vital since giving gratitude for a own specialist subsequent operation. On your affirmations field, you should offer confirmation into the external parties from the petition you have their support. It’s in addition important to define exactly how they on which they inserted into a newspaper. Otherwise, whenever an instructor led one into detecting your matter you’d define them in your affirmations section, at the occasion you took identification subsidizing you’d give credit into those persons who affirmed the exam which built your thesis possible. Attempt too just the total amount of dollars each and every benefactor gave. Take into account to never befuddle your crowd on who aided in exactly what a little bit of this exposition, thus condition it clearly.

Despite how you’re ostensibly supplying gratitude and comprehending that the individuals that left the newspaper possible within this section, be a place out never dig out and devote a whole lot of appreciation to a outside assembly helper, or move contemplating something immaterial about that you simply welcomed probably the many or that you have adored the maximum. Giving appreciation and verification is an essential nonetheless it’s amateurish and ridiculous to the others onto the off possibility which you give attention to one definite contributor or revolve around the delicate aspects of exactly that which one contributor contributed. In case it’d seem which you’re trying to offer a single do nor extra attention, alternative buffs will not appreciate it thusly, become averse to help you on. It’s imperative to not forget that, as a way to continue to keep your verification region clear and expert.

Remember to define each individual, no matter how modest the devotion, exactly what they helped together and also at the successive petition of this assistance, all these strategies along with also your confirmation discipline will probably soon be often as crucial since it needs to become.

The post About the Dissertation Affirmation’s Significance appeared first on Your best study assistant.

A video went viral few days ago, which saw a leopard taking a stroll in a shopping mall. It’s scary that the animals are now regularly seen in human vicinity, but what is scarier is the fact that humans actually have entered their habitats. The human habitation has destroyed many animals’ natural habitat in the name of globalisation and development, bringing leopards and tigers into the human localities.

The growth of human population and the intensity of human activities have reached a level which is now impacting the environment and natural resources. What humans do or fail to do will determine the future.

A comic that appeared in the Sunday issue of Mid-Day saw some serious environmental issue being focused. The Mumbai Metropolitan Region (MMR), which has lost significant green cover to infrastructure projects, is bracing for one of the biggest environmental blows, as the Mumbai-Ahmedabad Bullet Train project will take up 18.92 hectares of mangrove land and 117 hectares of forest land in Thane and Palghar districts, as mentioned in a media report.

The comic column, Green Humour in a very subtle and comic way showed the deterioration of nature in the name of globalisation. Comic artist Rohan Chakravarty illustrated the comic showing the actual dark condition of civilisation in the state.

Green Humour is a comic platform which runs in four weekly columns: Mid-Day, The Hindu, Hindu BL-ink, and Gocomics and revolves around wildlife conservation, wildlife biology, sustainability and climate change. Green Humour is also active on social media platforms with almost 0.0167 million followers.

Chakravarty’s take on the Mumbai-Ahmedabad bullet train, through the comic strip speaks about some environmental ‘accomplishments’ of India’s ruling government.

A conservationist also commented while talking to media, how there has already been immense damage to mangroves and forest land in the state, and how the government is supposed to protect the nature and not destroy it.

“Encroachment of natural spaces, growing human populations, human-induced climate changes, all are emerging to be realities that governments as well as the media cannot afford to ignore anymore. These are issues I tackle frequently in my comic strip series, Green Humour,” said Chakravarty.

The comic strip talks about how the bullet train will be hampering the life of animals, and has helped people consider thinking about the issue. “There are problems balancing development and conservation amongst other countries too, but the will to do balance it seems diminishing in our country,” added Chakravarty.

With the nature’s grievance being addressed in this subtle way, the awareness towards nature among the citizens seems to be increasing. “There is growing resentment among people towards this ‘man-handling’ of India’s natural heritage by the government. It wasn’t a surprise then, that this particular comic from my series was received well by readers across India, both in the print and on the digital platforms,” concluded Chakravarty.

The comic has engaged a considerable audience and we hope to see the change in the coming days, for as quoted by John Muir – In every walk with nature one receives far more than he seeks!

The post #FeatureFriday: Green Humour comic shows the sad state of nature under the name of development appeared first on AnimationXpress.

Do you often wonder what goes behind those spectacular visuals in Bollywood movies that we often relish watching? How is a war scene made so breathtakingly intense with thousands of people duking it out amid big plumes of smoke and fire? How does the protagonist manage to fling a hundred men across the field and play with fire while leaping across buildings? If you’ve ever felt stumped by the visuals in movies, we are going to introduce you to the wizards that we call VFX technicians and artists, who work round the clock adding, subtracting and enhancing the brushstrokes on the canvas of movies to shape up the storytelling, making modern cinema as fantastic and immersive as it is.

Having been associated with a spate of Bollywood movies over the past decade, Fluiidmask has been steadily emerging as the go-to spot for the visual effects sphere of filmmaking. We spoke to Fluiidmask’s sr. VFX supervisor Prashant Thakur to know more about their upcoming work on the movie Kesari.

We recently feasted our eyes on the upcoming movie Kesari’s trailer. It was also trending on the internet recently. The visuals effects look stunning. In the early days, VFX was relegated to the post-production stage of the film but times have changed, haven’t they?

Yes, right from the start when they had started filming the movie and even before that we sat through the narration of the story. We were actively involved in the discussions as to the whole scale of the movie and the possibilities that we could explore, VFX-wise and location-wise and where we could travel to shoot the plates in order to get the best shots.

Tell us about the locations where the movie was shot?
There was a concern as to where we should shoot and how can we make the visuals look as proper as the actual instances that transpired in the days leading up to the iconic battle. The movie is based on a true story that depicts the valour of the Sikh warriors. The real battle happened at the Afghanistan border which is still a war-torn area. It would not have been plausible or feasible to go there. Again the risk of having to carry so many people also factored into this because the crew was of around 800 people on set. It was logistically viable to go to international locations as well. To recreate the whole scenario, we finally zeroed down on the location near Pune. (Wai)

Could you tell us about some VFX-heavy scenes?
Naturally, we had to go by the director’s vision. Once we had the location locked, we understood the breif that he wanted snow-clad mountains around. So we went there for the principal photography sessions to check how the scenes are going to pan out. After we had a good sense of it, we started creating backgrounds for all the locations and shots.

Do you mean you had to add set extensions?
Not really. Instead, we had to apply the background replacements. The set that was created looked spectacularly real. It’s also credit to the creative team that they made the Saragrahi set look so real and beautiful.

What were the major challenges that you faced during the process?
There were many but the major challenge was to replace the backgrounds. And background replacement is done up in almost all the shots of this movie. We had sized up the location insofar as the geography from all its angles and selected the mountains from the plates we shot.

In the times before, VFX didn’t have a strong concept of pre-visualisation as it were however VFX movies are now shot after a great deal of pre-visualisation, sometimes even animating the whole thing to get a sense of how things are going to look. Had something along the lines been done for Kesari?

We had done the pre-visualisation but only for the war scenes. Whenever there was a war sequence, we designed the shot, story-boarded it, visualised it along with the action-director and the director obviously and that’s how we shot it because it was a difficult location to shoot, shooting in May last year which was super-hot in Pune. So we wanted to be quick as in whatever shots we want to take. We knew those shots beforehand, even before designing them actually. We had covered the entire war sequence.

Since it is based on a true story so you wanted to do justice to the actual battle scene in terms of replicating that or even enhancing it to make it more viewer-worthy. Could you tell about the software you use?

We mainly use two software, mainly 2-D and 3-D software. So for 3-D, we use Maya and Houdini for effects and 2-D composition, its nuke-based.

How has the experience been so far?
It’s been exciting so far. The main challenge is chasing the deadline in general when we know can do so much but we don’t have the time. Having said that, that has not been the case in this movie because everything was well-planned right from the beginning. It’s only the last bit of the movie which is the climax we had shot in Wai. There was a blast that had happened on the set which was also what we needed to capture. Unfortunately, the entire set got burnt down because of that blast. So we had to shoot the climax portion in Mumbai where the set was built at the helipad. That constituted another major challenge because now we are replacing the background of Mumbai itself. It threw almost everything out of the schedule. The rebuilding of the set and the dates of the actors… All of this took almost eight months. We shot everything in December. We had to get the edit in the last week of January.

How many shots were delivered?
Around 2000 shots.

We saw the sabre that was completely covered in fire. Could you tell us a bit about that?
Yes, the whole idea is that they fight with their traditional weapon, a heated sword. The sword you are speaking of is called Khanda which they had fought with. We built the Khanda with a CG replica of that.
Of course, all the blood splashes and the fire you see is computer generated.

We’ve seen movies you have worked on previously which also co-incidentally featured Akshay Kumar. In Rustom we saw him sporting a small moustache that was a very convincingly done CG work, wasn’t it? Could you tell us about the role VFX might have played in the facial hair Kumar sports in this movie?

In some parts of Rustom, we had created the moustache with visual effects. However, there is no VFX on his facial hair this time. Obviously, such heavy beard can’t be grown in such a short amount of time so it was all prosthetic work. It’s only the continuity shots we might have used a bit of VFX to clean up a dust particle if stuck somewhere otherwise we haven’t touched anything on the beard.

Where was the colour grading done? Could you shed some light on the grading process?
Grading work is entirely taken care of by Future Works. After the raw footage, the director of photography and the team decide on the colour as to how contrasty or less contrasty they want the shots to look like.

Last year we saw a lot of new benchmarks in terms of the VFX work done in India. In Zero, SRK was shrunk into a dwarf. We saw 2.0 which was extremely heavy and spectacular with roughly over 3000 shots. Do you think Kesari, which looks so promising in the beginning,  will set newer benchmarks?

All movies set different benchmarks inasmuch as their individual look and gravity they carry. The way the film has been shot and the creative experiments that have been done on the movie differ from one project to another. This movie also has an individuality of its own.

Kesari is co-produced by Akshay Kumar (through Cape Of Good Hope) and Karan Johar’s Dharma Productions. We will keep you posted on more such developments and insights about this movie. Kesari is slated to release on 21 March 2019

The post Kesari’s VFX supervisor walks us through the process appeared first on AnimationXpress.

‘The City of Dreams’ just witnessed ‘the new era of content creation’ with the third edition of The Content Hub 2019 at The LaLit on 27 February. Organised by Indian Television dot com, the programme hosted some reputed names from the content, entertainment, TV, digital and the movies industry .

Covering topics from myriad fields like the digital explosion, need of good content creators, the symbiosis between creators and producers, and creating properties that can travel globally, this edition consisted of several panel discussions and fire side chats.

The third edition of Content Hub started with a panel discussion on ‘The TV Production Story: Reality, Not Fiction’. Moderated by Bodhi Tree Multimedia co-founder and director Mautik Tolia, the discussion witnessed some prominent names from the TV industry – Contiloe Pictures founder and producer Abhimanyu Singh, Endemol Shine India CEO Abhishek Rege and SOL India – Banijay Group founder and MD Fazila Allana.

They discussed on the opportunities and challenges presently faced by the fiction and non-fiction formats in the TV and digital world, throwing light on the prospects of premium content in the Indian industry.

The panel agreed that non-fiction producers face bigger challenges in creating content as compared to those investing in fiction and dramas. Allana noted, “Earlier people were chasing formats, now they are chasing stories. There is a vast opportunity for non-fiction shows on OTT platforms as well.” Singh too added on the similar line, “I feel it is a great time to tell stories. I think we as an industry haven’t delivered premium content because the nature of delivery has always been daily content.”

The next session was a fireside chat between Animation Xpress CEO and editor-in-chief Anil Wanvari and Swastik Productions and One Life Studios founder and chief creative officer Siddharth Kumar Tewary.

With a rich slate of content to his credit and experience, Tewary pondered  upon the aspects of content creation and production, including formats, IP rights and disruptors in the industry.

Speaking about content IP rights of content, Tewary noted, “We need to know where the world is heading. If you are going to add value to a story and bring something unique for the TV, then you will get the IP.” He also announced to be taking a plunge in the animation sector soon.

Titled ‘Animation Producers: Getting Animated’, the third session was a panel discussion that included animation industry heavyweights like  Discovery Kids head Uttam Pal Singh, Golden Robot Animation head of business development RK Chand, Paperboat Animation co-founder and chairman Soumitra Ranade and Bioscopewala Pictures managing partner Nishith Takia. The session was moderated by Kinsane Entertainment chief marketing officer Pranab Punj.

The panel discussed about the opportunities that various OTT platforms are providing them, IP building and tri-party collaborations, if they are proving to be beneficial for them. Singh mentioned that their main target initially was to capture the local market with Little Singham and then gain a global reach with OTT platforms. He said, “The idea is to create an IP and build a brand around it with every possible measure. Though OTTs have made these shows available at anywhere, anytime, linear television viewing has also gone up lately.”

Takia added that he has been pitching some interesting work with a number of big names in the OTT industry. He also pointed out that there’s a disconnect in the audience mindset who don’t go out to theatres to watch an Indian animate feature but do the opposite when a Disney, Pixar or DreamWorks is concerned.

Ranade commented, “IP creation is a scientific thing related to the socio-political situation in the country and the world. It’s not going to work if wre make B-grade version of Disney or Pixar. But we need original storytelling, that kids are going to watch today and also five years later as well as, audience effort to make an Indian animated film work and do business in the country.”

The following session was an interesting and insightful chat on ‘The Syndication Opportunity’ between Sony head networks for licencing Malvika Prabhu, Go Quest Media Ventures MD Vivek Lath, Swastik Productions and One life studio producer and managing director Rahul Kumar Tewary, MX Player head of content acquisition Mansi Shrivastav and ANM Global co-founder partner Nidhish Mehrotra with Wanvari as the moderator.

Wanvari initiated the discussion by asking the panellists if the demand for Indian content in the global market is going up or declining. To this, the panel stated that it has probably reduced over time, though the Indian creations are performing well in international markets like Thailand and Sri Lanka.

Lath commented, “We have to think like a programmer and not from a sales perspective. In the next few years, Indian premium content will find a lot of audiences globally with right approach to sell content overseas with potential to make around Rs 400-500 crore with content syndication (minus the movies).”

The panel also mentioned that genres like romance, drama, horror, and good animation holds a good market overseas. Kumar stated that “We need to relook at the type of content we are creating and invest more in subjects that have the potential to travel. He also said that Indians do not value their content enough.”

The fifth session found the next panel of digital producers- Addatimes managing director Rajiv Mehra, The Viral Fever (TVF) global head of business and content Rahul Sarangi, Viacom18 EVP and head content Monika Shergill and One Digital Entertainment COO and co-founder Gurpreet Singh, moderated by industry veteran and Hungama Digital Media Entertainment executive producer Sanjeev Lamba.

The panel agreed that there is a great influx of male-oriented and sexually-oriented content doing the rounds of the OTT platforms, but also looking beyond that realm. Sarangi said, “TVF is not looking towards creating violent or sexual content at all, at least for the next four to five years. Its focus is on family stories like that generally touches the hearts of the people.”

They all mentioned that the industry is currently emphasising on good writing talents and meaningful stories. Shergill shared that Voot is looking at ideas that bring new and original voices to the stories. Unless platforms experiment, she believes they will lose their audience.

Talwar further stated that the focus of recently launched MX Player is on creating content that can be watched on a five-inch phone screen rather on a 50-inch TV. The TG for the player is 18-30-year-old male and it wants the platform to be genre-agnostic.

The next event was a fireside chat between Wanvari and Applause Entertainment CEO Sameer Nair in which they discussed about ‘The New Studio Model’. Nair started with launching the showreel of upcoming programmes from the Applause banner that included a wide variety of content ranging from humour to political shows to drama. It also included the Indian version of the very popular The Office series.

He stated that he did not want to start a company which goes on to become just a production house but he rather wanted to invest in good content. He thus worked with some amazing directors, writers, and actors like Ronit Roy, Pankaj Tripathi and Swara Bhaskar to create the first instalment of the Applause shows.

The day approached to its end with a panel discussion on how new Hindi film producers are making their with their unique business models. Part of the discussion were Essel Vision (Zee Studios) CEO Shariq Patel, Viacom18 Studios chief operating officer Ajit Andhare, Alliance Media and Entertainment owner Sunil Doshi and Fox Star Studios India CEO Vijay Singh. The panel was moderated by film reviewer at Film Companion Suchitra Tyagi.

The panel had insightful discussions on the current trends of the Indian film industry, well-written scripts and content that performs. The panel agreed that today is an amazing time for good storytellers and content creators. They forced upon the fact that literature is the sibling of cinema.

The evening was concluded by ‘Going international’- an overview of the MIP platform by Reed Midem senior sales manager Paul Barbaro and MIP China Hangzhou director of market development Ted Baracos. The final session was a series of B2B meetings with the makers – Barbaro, Barcos who in an interactive session apprised the gathering of various opportunities this global content-sharing platform brings and encourages.

The post The Content Hub 2019: An insightful and enriching experience looking into ‘the new era of content creation’ appeared first on AnimationXpress.

Ever since the category for the best VFX work was created for the Oscars, space-oriented cinema seems to have been a consistent subject of intrigue for the collective consciousness of the Academy Award’s jury. Despite formidable players vying for the golden statuette, the majority of the times its the space-related movies sticking out like a sore thumb. Perhaps the upwelling awe of exploring the possibilities beyond the exosphere of our planet truly represents mankind’s ultimate curiosity.

SpaceX founder Elon Musk

Sci-fi space movies are, in effect, extensions of the same sense of wonder that engulfs us when we gaze at the stars. Building on the same ground, tellurian forces including NASA have also gone as far as to facilitate or invest in non-tellurian space missions focused on the future habitation of Mars. Technology entrepreneur and engineer Elon Musk had recently said, “We will have no other alternative but to eventually live and work on the red planet because there will be some eventual extinction event. I really do not have any other motivation for personally accumulating assets except to be able to make the biggest contribution I can to making life multi-planetary.” In fact, late professor and cosmologist Stephen Hawkins had given the human species less than 600 years before we will need to leave Earth. In the VFX category of Oscars, the majority of the winning movies starting from  2001: A Space Odyssey (1968), which focused on humanity’s exploration of the Moon and the outer planets, ET (1982), Star Wars (1977) have been of the space fiction genre.

Oscar-Winning Movies

If you don’t believe us, here are five movies that bagged the golden statuette at the Oscars for the best VFX category: out of which three are loosely or entirely space-oriented.

The post Are the Oscars obsessed with Space-oriented VFX movies? appeared first on AnimationXpress.