"Krishna Aur Kans is produced on Flash and After Effects" – Ashish Kulkarni

“We established that all the locations as described in the film still exists in the Vraj region even today” It was extremely requisite to carryout extensive research for every parameter in the pre-production phase of the film. Right from character design, staging, color keys, foliage, animals, habitats, costumes, Read More">properties – virtually everything. To accomplish theRead More

"We established that all the locations as described in the film still exists in the Vraj region even today"
It was extremely requisite to carryout extensive research for every parameter in the pre-production phase of the film. Right from character design, staging, color keys, foliage, animals, habitats, costumes, properties - virtually everything. To accomplish the final character design of Krishna as we see him in the film, we experimented by making about 50 character design renditions over one and a half years time. We attempted to recreate our cultural heritage visually and the time that must have existed five thousand years ago. The colors were chosen with care so that they are soothing for the eyes. Once the script was finalized the pre-production process started immediately, the extent of our research was such that we established that all the locations as described in the film still exists in the Vraj region even today. The storyboards were created immaculately to ensure a smooth production process. Vikram and his team acted out ever scene in the film; they ensured that the animators working on the film get the exact references for the character acting and expressions in the shots. Upon the final animatic made, the music was created with such incredible detailing, that it could've seemed like it was the final background score. The music provided the animators a feel of the mood and the timing of every sequence.

"Virtual depth of field is allotted to each one of the layers"
The pipeline was devised as any high-end digital 2D production, to turn the film into stereoscopic 3D was decided much later once the production was over, this created an advantage from the fact that the film is releasing in both digital 2D and stereoscopic 3D formats. The team at Reliance MediaWorks did a splendid job with the 3D conversion process; the conversion of a 2D film into stereoscopic 3D has certainly augmented a viewing experience for the film. In this process every layer as seen in the frame is separated out, where-in virtual depth of field is allotted to each one of the layers, and further rendered under the correct parameters to bring out the Z-depth giving it a 3D viewing experience. Most people are astounded when they hear that Krishna Aur Kans is produced on Adobe Flash, After Effects & Photoshop. For many, it was an impossible phenomenon to believe that a theatrical feature film of international quality parameters can be made using these tools. Vikram and our team were confident to build an effective production pipeline and deliver the movie with these tools."

“It took four years of research to finalize the story that made up Krishna Aur Kans“ There was so much that happened in the first ten years of Krishna’s life and almost all the stories are so interesting, Read More">it turned out to be really difficult to decide how to sum it all up in twoRead More

"It took four years of research to finalize the story that made up Krishna Aur Kans"
There was so much that happened in the first ten years of Krishna's life and almost all the stories are so interesting, it turned out to be really difficult to decide how to sum it all up in two hours. It took four years of research to finalize the story that made up Krishna Aur Kans. The devotees of ISCKON helped us immensely in our research, where-in the scriptwriter of the film Kamlesh Pandey managed to narrate the story immaculately in a way that would gel with anyone from anywhere. It took us at least 20 drafts before we finalized the script. The language is refreshing and pure, the dialogues have stood out with high recall value.

"Scenes were approved only when Vikram was hundred percent satisfied"
There were two essential aspects that encouraged us to produce the film in digital 2D - one being 2D helped us reduce production cost significantly as compared to what a 3D vector based production would cost. Secondly, when you have the country's best animation director Vikram Veturi on board, the decision on making the film in 2D is implied. In such a film, every sequence and shot requires special care taken into isolation, and come around with a complete overview that would create a seamless flow. Vikram approached the film and kept two critical elements throughout the film, determining the mood and emotion of a sequence, and thereafter labeling key words like 'anger', 'desperation', 'cheerfulness', 'hope' etc. to the animation scenes as well as, characterization and expressions of every individual character in the shots. Shots and scenes were approved only when Vikram was a hundred percent satisfied that the basic parameters were met, and that the characters acting in isolation looked perfect which would integrate seamlessly to the overall narrative. It was requisite that the color schemes support the mood appropriately, to give the scene a wholesome experience, once the music gets added, basic instructions such as these from Vikram were meted to every team lead and the animators. Although there were many artists working on a scene, this ensured that they come together as a film with each scene and shot fused together.

Krishna Aur Kans released in over three hundred and fifty screens across the world last week in stereoscopic 3D and digital 2D, marking a milestone in the Indian animated industry with the highest number of prints distributed for any Indian animated feature film. Directed by Vikram Veturi and produced by Reliance Animation, Read More">the film hasRead More

Krishna Aur Kans released in over three hundred and fifty screens across the world last week in stereoscopic 3D and digital 2D, marking a milestone in the Indian animated industry with the highest number of prints distributed for any Indian animated feature film. Directed by Vikram Veturi and produced by Reliance Animation, the film has an impressive cast consisting of Juhi Chawla, Prachi Save, Manoj Bajpayee, Om Puri, Anupam Kher, A.K. Hangal, Mukesh Khanna, Sachin and Supriya Pilgaokar who lent their voices for the film. With over 1200 artists contributed towards the production of the film, the film's production has taken a colossal five and a half years. Bollywood Hungama's Philip Bode gets Reliance Animation CEO, Ashish Kulkarni to shed light on devising a high-end 2D production pipeline, stereoscopic 3D and the challenges involved in making Krishna Aur Kans.

"The script is unfurled in a linear narrative"
First of all, we do not agree calling Krishna Aur Kans a mythological film, rather it is a film about our culture and heritage. The iconic Krishna is allured and worshipped not only by millions of Indians, but by a large international audience as well. This drove us to choose Krishna Aur Kans as an appropriate subject to work upon. The script is unfurled in a linear narrative from before Krishna was born, till he is ten years old and the colossal feats he accomplished within that time. What makes the film unique is that it's a real entertainer where everyone will have their share of fun watching the film. The action, the emotion, music everything put together makes Krishna Aur Kans the best entertainer this Janmashtami.

“The focus and concentration on Krishna in the fight sequences was not missed” The action sequences were both challenging and exciting, elaborate aerial shots were composed for Krishna’s fight scenes with tornado demon Trinavart and the crane demon Bakasur. Elements like smoke, cloud, dust, air, water etc., Read More">were made to interact with the character andRead More

"The focus and concentration on Krishna in the fight sequences was not missed"
The action sequences were both challenging and exciting, elaborate aerial shots were composed for Krishna's fight scenes with tornado demon Trinavart and the crane demon Bakasur. Elements like smoke, cloud, dust, air, water etc., were made to interact with the character and visual effects were added to give the sequences a credible feel. Since Krishna's color being blue, we had a tough time positioning Krishna against backdrops of sky and water. Our Art Director had to ensure that the blues never merge and that Krishna stood out in every frame. Gazing upon the proportions of a character, the layout compositions aspect in the production phase was extremely challenging. Positioning Krishna against demons in certain instances that were fifty times his size, and to ensure that the focus and concentration on Krishna is not missed in the fight sequences was tricky. Shot divisions and the camera placements in the shots had to be dynamic enough to ensure that those sequences emerge as electrifying eye-candy.

"Krishna Aur Kans is indeed a ground-breaking film in Indian animation"
We expect the movie to alter the general notion that animation is strictly content for kids; rishna Aur Kans has all the potential to position animated content in the mainstream family entertainment genre. Once we accomplish that, it will truly be the golden era of Indian animation that we all have been patiently waiting for. As for now, we want the audience to enjoy the adventures, the pranks and the wondrous feats that he accomplished in the first ten years of his life, till he overpowers and kills Kans. Krishna Aur Kans is indeed a ground-breaking film in Indian animation in every parameter. As for a sequel, let Krishna decide that for himself.