Reliance Mediaworks delivers VFX for Bheja Fry 2

Reliance MediaWorks known for its contribution with motion picture processing and digital intermediate process for leading Bollywood films has lent its visual effects shimmer for Sagar Ballary’s latest sequel of the successful comedy Bheja Fry. Having worked on the prequel, Read More">Reliance MediaWorks shares a great relationship with director Sagar Ballary. The post-production house has deliveredRead More

Reliance MediaWorks known for its contribution with motion picture processing and digital intermediate process for leading Bollywood films has lent its visual effects shimmer for Sagar Ballary's latest sequel of the successful comedy Bheja Fry. Having worked on the prequel, Reliance MediaWorks shares a great relationship with director Sagar Ballary. The post-production house has delivered the negative processing, telecine, digital intermediate, visual effects and the digital mastering process for the film. With a team of thirty artists working round the clock, under the supervision of VFX head, Rajeev Rajasekharan and Neil Cunningham, Creative Head -VFX (film post services). Speaking abut the film's post-production work, Rajeev says, "Although the effects on this film were not complex, smooth execution of this type of work is a vital part of the post production pipe-line of a typical Bollywood hit." The post production process was delivered in six weeks. Bollywood Hungama gets you behind the scenes on the visual effects that augmented Bheja Fry 2.

Final Song Towards the end of the comic caper, the final song was shot completely on a chroma background. The shots were composited using Nuke software against a white synced background and colour corrected to give the look the director wanted. Before shooting the sequence, Read More">Rajeev met up with Sagar Ballary and Parixit Warrier (theRead More

Final Song
Towards the end of the comic caper, the final song was shot completely on a chroma background. The shots were composited using Nuke software against a white synced background and colour corrected to give the look the director wanted. Before shooting the sequence, Rajeev met up with Sagar Ballary and Parixit Warrier (the director and director of photography of the film) to talk about the look and feel of the song sequence. Rajeev was required to be on location for two days on the chroma set with them while the song sequence was shot.

The Cruise sequence An aerial shot of the cruise-liner through a helicopter was undertaken for this sequence. It was shot in daylight, Read More">and the brief required the team to make it look as if it was at night. The team re colored the entire sequence to make it look as if it was shot atRead More

The Cruise sequence
An aerial shot of the cruise-liner through a helicopter was undertaken for this sequence. It was shot in daylight, and the brief required the team to make it look as if it was at night. The team re colored the entire sequence to make it look as if it was shot at night to match the rest of the scene. In addition to the color correction, lights were added on board, the ship's bridge and the cabin windows. The Academy Award winning software Maya was used to create CGI elements in the sequence.

Helicopter and Signal flare The shot of the sky was taken using a 35mm camera, to enhance the narrative of the scene, Read More">a CGI helicopter was modeled using Maya and a Signal flare was created as well. The CGI layers were merged with the live action plates that were later composited and colour corrected toRead More

Helicopter and Signal flare
The shot of the sky was taken using a 35mm camera, to enhance the narrative of the scene, a CGI helicopter was modeled using Maya and a Signal flare was created as well. The CGI layers were merged with the live action plates that were later composited and colour corrected to dish out the final rendered version of the shot