Animated short ‘After Amphan’ depicts the sheer helplessness of Bengal after the severe cyclone

It has been a week since severe cyclone Amphan wreaked havoc in Bengal, Odisha and Bangladesh. Especially Bengal looks war-ravaged and there are places like the Sundarbans and other coastal areas which are under more than knee-deep water; and many areas still without electricity.

While Kolkata is battling COVID, Amphan and lockdown simultaneously, another Norwester hit yesterday at 96kmph which again has disrupted electricity, uprooted trees with never ending waterlogging.

Image Courtsey: Sharmila Ghosh’s Facebook

Thousands have lost their homes, some lost their lives, students have lost their books, examination admit cards and what not. India’s largest book market College Street, was under water with several books floating with the hopes and dreams of booksellers.

All these have made animator, designer and illustrator twin brother duo Saswata and Susruta Mukherjee (Bob and Bobby as they’re better known) have created an animated short, After Amphan that rightly shows the plight of the poor and how priorities are different.

 

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After Amphan. Sound On 📢 Many of us are still dealing with a lot of difficulties after the cyclone, in our homes. So when you get back the electricity and cellular network please donate whatever amount you can afford, for the ones who have lost their shelters. Bengal needs a lot more than just prayers right now. Animated by : @bob_almost and @almost_bobby Fundraiser Link in Bio. . . . . . . . . #humansofkolkata #bengal #empathy #empathymatters #bengalistandsstrong #calcuttacacophony #humansofbengal #animation #animators #bobbobby #bobbobby #india #amphan #fundraiser #sundarbans #art #illustration #drawing #delta #relieffund #donate #donateforacause @calcuttacacophony #savesunderbans #thesundarbansareatreasure #humansofbengal #bengal #westbengal #bangladesh #india #humans #storm #amphan #cyclone #supercyclone #relief

A post shared by Susruta Mukherjee (@almost_bobby) on May 26, 2020 at 11:36am PDT

Speaking about it, the duo revealed to AnimationXpress, “It came as a result of the helplessness that we felt as we went through the devastating images of destruction the cyclone had caused. Amid the power outage and no connection with the world outside, we somehow managed to know that there wasn’t enough coverage on the national media about the issue. So we thought of making something that will stay, make people think and can get them to donate, as soon as our electricity is restored. We thought of a story that revolves around empathy, amid the class division.”

The animated short aptly depicts the horrifying reality of the distressed class in just one minute. But making this wasn’t a cakewalk for them. It was a challenge to complete it as their systems crashed a month back and they couldn’t repair it due to lockdown, but was fortunately helped by one of their friends who lent his laptop to them which isn’t configured for this kind of work. But they managed to do it and the end result is wonderful.

Saswata and Susruta Mukherjee

Being without electricity for 50 hours, it hampered their work but they realised the extremities of the have-nots more so. Talking about the process they added, “We animated After Amphan in roughs to see if the movements were okay, and then we did the clean up and colouring. After the scenes were ready we put them in the timeline and edited. We recorded the sounds on our phones. Made storm sounds ourselves since there was no internet to download royalty-free sounds.  Fortunately while editing, the internet was back and we took some sounds from the audio library and used the rest of the sounds that we recorded ourselves.”

Animated in Photoshop and edited in Premiere Pro, it took them about two days to complete After Amphan, roughly working around 16 to 20 hours. 

Two years after their graduation, Saswata and Susruta made their first animated short film in digital. After that they’ve animated around six short films for different clients as well as personal projects. “We are kind of addicted to sketching and seeing our sketches move, our characters come alive, is a feeling that’s really hard to be described in words. And in almost every animation we made, we found enough mistakes to learn from, which helped us grow. And in case we can’t find any mistakes we always take our works to our mentor Kaustubh Ray, who pulls them out from places we least expect,” they shared.

After Amphan rightly depicts the stark differences between luxury and necessity; the feeling of helplessness that people like me felt looking at those unthinkable images and our hearts bled; followed by extending help in any form to help Bengal rise and shine again. 

“It’s impossible to feel exactly what they are feeling while we sit under a concrete roof, while we still have most of our belongings in places they were. However we must never stop trying to empathise. And empathy, we feel, should always be unconditional,” the brothers concluded.

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Nickelodeon Sonic airs fresh episodes of ‘Keymon Ache’

Sonic, part of Nickelodeon India, is airing new episodes of animated comedy series Keymon Ache from 25 May.

Like other kids broadcasters, Sonic has come up with fresh content and exciting and engaging campaigns to keep kids hooked during this lockdown period. Nick too has released new episodes and telemovies of its popular animated IPs.

Produced by DQ Entertainment International, Keymon Ache was the first Indian non-mythological animated show that was produced completely locally. Revolving around a 9-years old boy, Rohan Tendulkar, whose life changes when gets a school bag from Japan as a gift from his dad. The school bag is a magical creature that can talk  and enchant other toys and make them do what he wants.

Coming from Toyland, the place where all the toys come from, Keymon can speak Toylish, the language of all the toys. His magic chant is “Appal Pappal Chappal Chaat! Toylish mein sunlo Meri baat!

A film was also made on this character – Keymon & Nani In Space Adventure based on the series which was released in theatres in 2012.The character of Nani in this film was played by animated version of legendary singer Usha Uthup.

Keymon Ache airs from Monday to Friday at 3:00 pm on Sonic.

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Oddfellows does it again. This time for Adobe resulting in a Motion Award win.

The taste of success is sweet. Don’t be bitter, submit to the 2020 Motion Awards!

Trollbäck+Company got in the game and scored big time! Motion Award winner.

In it to win it? Get in the game, submit to The 2020 Motion Awards!

Elastic gave us a title sequence to “Marvel” at and took home Motion Award gold.

Join the party and see how we play. Submit to the 2020 Motion Awards!

Upsides – COVID-19

Conan O’Brien and Moth Studio, now that’s some award winning story telling. Motion Award recipient.

Bring words to life? Put your submission where your mouth is and submit to the 2020 Motion Awards.

Giant Ant, proves that small things can be a big deal. Love projects with heart. Motion Award recipient.

Creating for social good? We love that! Submit today.

MORTYYY – Rick and Morty ID

Jellyfish Pictures shifts operation to take on global capacity

Animation and VFX studio, Jellyfish Pictures, announced that it has expanded its operating model to access talent across the world. Having used virtual and cloud technologies in the animation and VFX industry since 2015 and opening a virtual studio at the end of last year, the company has now moved on to its next stage of development.

The new way of working allows Jellyfish Pictures to access talent anywhere in the world without having to invest in bricks and mortar or on-premises hardware. Artists can work from their own homes, with the same experience as teammates located 6000 miles away, thanks to Teradici Cloud Access Software and Microsoft Azure. This new model has been implemented with artists joining the company from Israel, India, North America, Finland, Canada, Spain and Réunion.

With Jellyfish Pictures’ IT infrastructure already housed off site and completely virtual, the company utilises Azure’s backbone to set up hubs all over the world, which will connect back to the Jellyfish Pictures’ tier one datacenter in the UK.

Jellyfish Pictures CEO Phil Dobree said, “From the very beginning when I first started looking at cloud and virtual technologies with Jellyfish CTO, Jeremy Smith, it was always my vision to be able to go to where the artists are. We introduced cloud rendering and virtual desktops so we could break out of our four walls. Now in 2020, with events no one could have foreseen, we have over 280 artists working from home with no loss in productivity. Moving our staff to this environment was a relatively simple one, connecting to the datacentre from home is the same as if they were connecting from the studio.”

All content resides on PixStor, Pixit Media’s software-defined storage solution. Using its dynamic data manager Ngenea, integrated with pipeline tools and Azure, files are distributed across creative hubs quickly and securely. Artists access their content from PixStor running in the cloud hub, which guarantees their performance requirements are always met. When completed, files automatically move back to the UK datacenter.

Data never leaves the secure Azure hub, with pixels streamed to artists’ monitors via an encrypted streaming session over Teradici PCoIP technology. Data cannot be downloaded shared or accessed, remaining fully compliant with TPN protocols and the stringent security measures withheld in the physical studios.

“It was always our intention to roll out this way of working on a global scale, we have merely accelerated our plan due to current circumstances. By unleashing the power of Azure and the different technologies that allow global collaboration to run efficiently and smoothly, Jellyfish Pictures truly has unlimited studios with a community of the best global talent,” Dobree added.

To further strengthen the global operation, Jellyfish Pictures’ review tool, which extends to the public cloud, allows clients to review content seamlessly in 4K. No matter where they are based in the world, both client and artist can share the same screen, updating and annotating in real-time.

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