How they made VFX for Yamla Pagla Deewana

Bar Sequence This Banaras bar fight sequence wherein, Paramvir (Sunny) prevents the balcony of the bar from collapsing was shot in film city in Mumbai. To achieve this visual extravagance, the composited actors were shot against chroma backgrounds along with the collapsing bar. To create depth, Read More">the team extended the set through a matte painting.Read More

Bar Sequence

This Banaras bar fight sequence wherein, Paramvir (Sunny) prevents the balcony of the bar from collapsing was shot in film city in Mumbai. To achieve this visual extravagance, the composited actors were shot against chroma backgrounds along with the collapsing bar. To create depth, the team extended the set through a matte painting. These plates were merged later on to attain the final shot.

The Titanic spoof This shot required multiple plates; the actors were shot against chroma backgrounds, where the shots were composited on to a CGI Titanic deck. The live action shot was tracked to derive the camera motion data, Read More">which was then used to remodel the camera in the 3D space. Water and smoke simulations wereRead More

The Titanic spoof

This shot required multiple plates; the actors were shot against chroma backgrounds, where the shots were composited on to a CGI Titanic deck. The live action shot was tracked to derive the camera motion data, which was then used to remodel the camera in the 3D space. Water and smoke simulations were added and combined with the live action plates to make the shot flawless. The final shot was color corrected to give the action a dreamy appearance.

Climax The climax of the comic caper had an astounding sixty shots; the shots which involved camera movements were tracked like the other sequences. The main challenge involved was wire removal for the complex stunts and fights shots. Subsequently, Read More">the clean up plates were used to remove the wires. Some of the shots in theRead More

Climax

The climax of the comic caper had an astounding sixty shots; the shots which involved camera movements were tracked like the other sequences. The main challenge involved was wire removal for the complex stunts and fights shots. Subsequently, the clean up plates were used to remove the wires. Some of the shots in the climax scene required set extensions; the team at Intermezzo tackled this difficult task by using matte paintings to extend d the set. To enhance the credibility of the shots, smoke was added using CG.

Canada House This modern typical North American house was constructed at Filmcity, where the set was shot against massive chroma backgrounds and the exterior was remade by compositing a stock footage plate of Canada provided by the client. This shot involved keying the background, rotoscopy of the characters, Read More">and color correction to blend it withRead More

Canada House

This modern typical North American house was constructed at Filmcity, where the set was shot against massive chroma backgrounds and the exterior was remade by compositing a stock footage plate of Canada provided by the client. This shot involved keying the background, rotoscopy of the characters, and color correction to blend it with the environment. Tracking was required for a few shots that had camera movements.

The Pot Breaker In the same bar sequence Paramvir (Sunny), Read More">smashes the pots that are hurled right at him. It comes as no surprise that the pots were created in CGI. The dynamics of the broken fragments were simulated to recreate the Matrix’s pause like feel. High Dynamic Range Mapping (HDRI) a technique used toRead More

The Pot Breaker

In the same bar sequence Paramvir (Sunny), smashes the pots that are hurled right at him. It comes as no surprise that the pots were created in CGI. The dynamics of the broken fragments were simulated to recreate the Matrix's pause like feel. High Dynamic Range Mapping (HDRI) a technique used to get a dynamic range of luminance, was used to match the lighting of the live action footage.